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KARMA 



KARMA 



A RE-INCARNATION PLAY 

IN 

PROLOGUE, EPILOGUE & THREE ACTS 



BY 

ALGERNON BLACKWOOD 

AUTHOR OJ "JULIUS LE VALLON," "THE WAVE," ETC. 
AND 

VIOLET PEARN 




NEW YORK 

E. p. DUTTON & COMPANY 

68i FIFTH AVENUE 



0°^ 






Copyright, igiS, 
By E. p. DUTTON & COMPANY 



a -I 1918 



Printed in the United States of America 

©CI.D 49934 



CONTENTS 

PAGE 

Prologue. Present Day 3 

Act I. Their First Life Together. Time — 
2000 B.C. Egypt 38 

Act II. Their Second Life Together. Time— 
325 B.C. Greece 81 

Act III. Their Third Life Together. Time- 
Fifteenth Century. Italy .... 123 

Epilogue. Present Day 189 



PROLOGUE 

PRESENT DAY 



CHARACTERS 

Phillip Lattin (45), British Agent in Egypt. 

Mrs. Lattin, his wife (40), mentally and phys- 
ically ill; a woman of strong personality 
and exacting. 

The Doctor, unpretentious, simple in bearing, 
gentle in manner. 

Nurse. 



PROLOGUE 

Scene — Room in Lattin's London house. Mrs. 
Lattin lies on sofa. A picture of Ancient 
Egypt, showing the Nile, palms and temples 
on wall easily visible to her. 

Time — Present day, evening. 

Mrs. Lattin 
What time is it, nurse — nowl 

Nurse 
Close on half -past five. 

Mrs. Lattin 

( With irritability of a sick woman. ) Not 
later? Are you sure? It's so dark. 

Nurse 

(Soothingly.) The dusk is closing in; 
I'll light your lamp. 



4. KARMA 

Mrs. Lattin ' 

Half -past five, you said? My husband 
expected to be back before this. Hasn't 
he come? The appointment was for half- 
past two. 

'Nurse 

The Foreign Office takes its time. Mr. 
Lattin will come to you the moment he gets 
in. 

Mrs. Lattin 

You're sure? I thought I heard his step. 

Nurse 

I'll go and see the moment the lamp is 
lit. But he never forgets. He always comes 
in here first. 

3Irs. Lattin 

But he's so long to-day, longer than usual. 
And he looked so grave, nurse, when he left. 
He looked worried, I thought. You noticed 
it? 



KARMA 5 

Nurse 

He is taken up with these politics just 
now. It's only natural, considering the 
crisis in Egypt. But he's always so in 
earnest, isn't he? I noticed nothing unusual. 
The Government is lucky to have him 
at such a time. No one could fill his place. 
{Brings lamp.) There's the lamp. Is the 
shading right ? 

Mrs. Lattin 

Fill his place! No, indeed. Phillip 
understands the natives better than anybody 
in the world. And the country too {wist- 
fully). If only I could bring myself to go 
back to Egypt with him. (Irritably.) The 
light catches my eye there. To the left 
a little. Now to the right. Thank you. 

Nurse 

The doctors all agree it's best not, don't 
they? The dry climate 



6 KARMA 

Mrs. Lattin 
It's not that, nurse. Dryness is what 1 
need — warmth and dryness. It's some- 
thing else. Egypt frightens me. I can't 
sleep there. Dreams come to me. 

Nurse 
The doctors said it was the effect of the 
climate on the nerves. 

Mrs. Lattin 
Oh, I know. I'd face it if I could — an- 
other winter. It means so much to Mr. 
Lattin, doesn't it? Nurse! It's curious — 
it's strange, don't you think — that Mr. Lat- 
tin feels nothing of that I feel there? I 

mean ^ 

Nurse 

Hark! I think that's Mr. Lattin's step. 
I'll go and see. 

3Irs. Lattin 
It can't be the ncAv doctor, can it? 



KARMA 7 

Nurse 
T)r. Ogilvie? Not yet. Six o'clock he was 
to come. He won't be here before his time. 
These great specialists are busy men. 

Mrs. Lattin 
(Wearily.) I've seen so many doctors. 
I hardly feel as if I had the strength for a 
new examination. Dr. Ogilvie will do me no 
good. 

Nurse 

Still you will see him. For your hus- 
band's sake, 

Mrs. Lattin 
Ah, yes, for Phillip's sake. I think my 
husband's coming, nurse. 

(^w^^r Phillip.) 

Nurse 
Good-evening, Mr. Lattin. Mrs. Lattin 
is a trifle better. I'll leave you for a little, 
but she must not tire herself. We are ex- 
pecting Dr. Ogilvie at six. 



8 KARMA 

Phillip 

I'll be very careful. 

[Nurse eant. 

(Phillip comes to his wife,) 

Mrs. Lattin 
At last, Phillip. I'm so glad youVe come, 
dear. I've been waiting and longing so. 
They kept you — but you belong to me, don't 
you ? You're tired, poor old thing. Come to 
me, Phillip — closer. (Stretches out hand.) 

Phillip 
I am, a bit late. I'm sorry, Little Child. 
They kept me, yes. But you ? 

Mrs. Lattin 
I'm well enough to listen. You're back; 
I forgive you. And it's all arranged as you 
wished — as you hoped? 



Phillip 
Sir George was kindness itself- 



KARMA 9 

Mrs. JLattin 
You saw the Foreign Secretary! 

Phillip 
You didn't know I was such a big-wig, 
did you? It is important, you see, dear. 
The situation out there is complicated. I've 
left them in the lurch a httle, and my ad- 
vice — er — my knowledge, Sir George was 
good enough to say — at such a time 

Mrs. JLattin 
In the lurch, Phillip ! How in the lurch ? 
You're only asking a longer leave than 
usual. 

Phillip 

There, there. I don't want you to worry 
your dear head with politics. The new doc- 
tor will be here any minute now. That's far 
more important. 

Mrs. Lattin 
I would rather know exactly. It doesn't 
worry me. 



10 KARMA 

Phillip 
It's all been arranged most satisfactorily, 
dear; and I'm very pleased. So you re 
pleased with me — eh? 

Mrs. Lattin 
Phillip — what has been arranged? 

Phillip 
Sir George was most complimentary. The 
Government would recognise my services — 
my long services, he called it. He even dis- 
cussed with me — asked my advice, if you 
must know the full weight of honour placed 
upon me! — as to my successor 

3Irs. Lattin 
Successor! 

Phillip 

But, darling, some one must fill my place. 
There must be a locum tenens, as they say in 
the church. 

Mrs. Lattin 

You've — resigned ! 



KARMA 11 

Phillip 
Dear one, there was no other way. It's 
a formahty, you see. I can always take it 
up again where I left it off. Our man in 
Egypt — just now — must be there. He must 
be on the spot, of course 

Mrs. Lattin 
But six months' leave! Surely, six 
months' leave 

Phillip 

Means the entire winter. There, there. 
Little Child, it's nothing. You must not 
exaggerate like this. What is my work in 
Egypt compared to being with you. The 
doctors forbid you to go out. It's quite 
simple: I prefer to stay with you. My 
world lies in your heart. I — I can always 
take up the work again when — when you're 
better. 

3Irs. Lattin 

Resigned, resigned! You have actually 
resigned. Your career — I have broken your 



12 KARMA 

career — at last — completely. Is it wrong, 
then, that I need you so? 

Phillip 
Hush, dearest 

Mrs. Lattin 
You have paid this tremendous price — 
and I have made you pay it. 

Phillip 
I wish to be always with you. That is 
my only wish, my only happiness. 

Mrs. Lattin 
For my sake you have sacrificed 



Phillip 
It's I who am selfish to tire you with all 
this stupid Government business. There, 
now; you've talked too much and I have 
done you harm. There's only happiness in 
my heart. No more nonsense-talk about sac- 
rifice. You must lie quiet and rest again. 
I can be always with you. 



KARMA 13 

Mrs. Lattin 

Yes, to the end — my end and yours. O 
God! Why did I not understand before? 

Phillip 

You must not speak like that. Love — 
our love — knows no end. 

Mrs. Lattin 

Oh, I am miserable, Phillip, miserable, 
miserable. 

Phillip 

Please, do not say such things. 

Mrs. Lattin 

But I must, I must. My selfishness has 
brought you to this last renouncement. 
Egypt has meant so much to you. 

Phillip 

Too much, Mary, too much. Egypt was 
coming between us. 



14 KARMA 

Mrs. Lattin 

Your work there, the great work I have 
ruined . . . ! Egypt meant home to you. 

Phillip 
Home is where you are, dearest, and no- 
where else. You have taught me this — in 
time. {To himself.) Egypt! Ah, Egypt! 

Mrs. Lattin 
I hate it. It terrifies me. There is pain 
for me in Egypt. An instinctive dread 
comes over me always — something from very 
far away. I have struggled against it, for 
your sake, but — oh, it's so, so strong. If 
only you could forgive me ! 

Phillip 
Hush, dearest! 

Mrs. Lattin 
But it has come between us. You love 
it so. And it's my fault that you can't — 
your career, I mean 



KARMA 15 

Phillip 
Dear one, whatever is, is right. There is 
nothing to regret. Egypt, indeed, has drawn 
me strangely. There is some power out 
there — a spiritual power — that has cast a 
glamour over me. It has been a passion 
with me. 

Mrs. JLattin 

My instinctive terror! 

Phillip 
And my instinctive love! 

[They glance together in silence at a 

great picture above the bed — an 

Egyptian night-scene^ with stars 

and Nile. 

Yes . . . yes . . . strange indeed ! From 

my earliest days it drew me. Those palms 

and temples, that majestic desert ! 

Mrs. Lattin 
Phillip, don't! Those stars, that river 
bring me sadness — immense regret. I feel 



16 KARMA 

them always rising over me. They watch 
me! 

Phillip 

Forgive me. It was the marvellous 
beauty took me. I 

3Irs. Lattin 

But it's an unearthly beauty. And some- 
thing in it — lost. It's lost to you. And I — 
oh, but I do love you so; for ever and ever 
you are mine — aren't you? 

\_He stoops and kisses her. She half 
rises, whispering : 

Phillip, dearest — something strange 
comes over me. I see a lifting of this heavy 
Enghsh sky. I have been through this be- 
fore — I have done this very thing before — 
long, long ago — injured you somehow! Oh, 
Phillip, can it be that we have lived before — 
pre-existence — is it true? {Sinks back,) I 
think ... I think I must be near to . . . 
death I 



KARMA 17 

PhiIMp 
Hush, hush, my darling. These are sick 
fancies only. Your brain is tired. We must 
not talk like this. 

3Irs, Lattm 
I am tired, yes; but it is my soul that 
aches and not my body. Phillip, I want your 
forgiveness. 

TMIUp 
There is nothing to forgive. I love you. 

Mrs. Lattin 
(Spiritually tortured and perplexed.) I 
want your real forgiveness — before I go. I 
have been suffering deeplj^ deeply. Cur- 
tains have been rising. I almost see. Some- 
thing seems growing clearer to me. I've 
done wrong somewhere ! Why have I pulled 
against you all these years — against your 
work? It cannot be my love that is at fault. 
You're wholly mine — and yet I want your 
forgiveness somehow 



18 KARMA 

Phillip 

(Deep patiejice.) All the love and for- 
giveness in the world I give you, Little 
Child. But you ask for what was always 
yours. 

Mrs. Lattin 

Your broken mission. You alone have 
the strength and patience Egypt needs. I 
have ruined all, all, all! 

Phillip 
There ! I forgive you, then. ( Kisses her. ) 
I forgive you all, all, all. But please calm 
yourself. This excitement does you harm. 
You torment yourself for nothing. It is 
I who have been, and am, the egoist. All 
men who think their work is a mission are 
shameless egoists. 

3Irs. Lattin 
Thank you, Phillip, for this great gift 
of your forgiveness. But it is not enough. 



KARMA 19 

I want to understand — and so forgive my- 
self. 

Phillip 

You must rest now a little. It was 
criminal of me to let you talk so much. No, 
not another word. I'll leave you for a bit. 
You must be calm to see the Doctor. It's 

nearly six 

Mrs. Lattin 

Dr. Ogilvie can't help me. 

Phillip 
What! The first man of the day! His 
wonderful cures 

Mrs. Lattin 
He cures the body only. I need a soul 
physician. Oh, Philhp, I believe sometimes 
my yearning must bring him to me. 

Phillip 
My darling, it is your body alone that is 
ill. Your suffering gives you these strange 
fancies. 



20 KARMA 

Mrs. Lattin 
You love me too well to understand. 
(Sighs.) My illness is not only of the body. 
Now, leave me, dearest. I wish to see him 
quite alone. 

PhiIMp 
Little Child, you shall. You can dismiss 
the nurse. {Glances at clock.) It is close 
on six. 

3Irs. Lattin 

Kiss me. (He kisses her softly and goes 
out. ) If only — ah, if only my great yearn- 
ing .. . 

[She Ties hack exhausted. Sighs. 

Covers her face with her hands. 

After a moment she uncovers her 

face and half sits up again. She 

stares hard at Egyptian picture on 

the wall. 

The fault lies in my soul, and it comes 

first from there — from Egypt. The river 

is rising, rising once again. The stars are 



KARMA 21 

rising too. They watch me, and they wait. 
They're always watching us. O God! If 
only some one could make me understand! 
If some great doctor of the soul . . . ! 
(Sinks back. Her eyes close. She lies very 
still. ) 

[A big clock on the mantelpiece strikes 
the first three strokes of sice o'clock, 
then stops. The door opens slowly 
and a man enters quietly. He looks 
round the room, sees her on the 
sofa apparently asleep, and stands 
still, a few feet inside the door. He 
looks steadily at her a moment, 
then glances at the picture of 
Egypt on the wall. He smiles gen- 
tly. His figure is a little bent, 
perhaps. He is not a big man with 
any marked presence. As he 
smiles, she opens her eyes and sees 
him. She shows surprise and slight 
embarrassment. She raises herself 



22 KARMA 

on one arm. Her voice is hushed 
rather when she speaks. He re- 
mains near the open door. 
I beg your pardon. Is it — Dr. Ogilvie? 

Doctor 
I am the Doctor. 



Mrs. Lattin 
I must apologise. Did no one- 



Doctor 

I found my way. 

[Both pause, gazing. 

Mrs. Lattin 
{With relief .) Ah! Thank you. 

\_She makes an unfinished gesture to- 
wards a seat. Her eyes remain 
fixed on his. She S7niles faintly. 

Doctor 
You called for me. (He makes one step 
nearer.) 



KARMA 23 

Mrs. Laftin 
My husband, I believe, did write. We — 
expected you. 

Doctor 
I am come. 

Mrs. Lattin 
It is exceedingly — it is more than kind of 
you. You are so good. I mean — {stam- 
mers; sinks back upon the cushions^ unable 
to maintain the effort), I am very ill. 

Doctor 
I know. 

Mrs. Lattin 
You know ! Ah yes — you know. 

Doctor 
That is why you called me. That is why 
I am here now. 

Mrs. Lattin 
I can tell you very briefly what 



24 KARMA 

Doctor 
It is unnecessary. 

Mrs. Lattin 
But 

Doctor 
I have been watching you. 

\_He straightens up a little; a new 
dignity is in him. She gazes in- 
tently. She stretches out a hand, 
then withdraws it, hesitatingly, 
again. 

Mrs. Lattin 
You mean ? 

Doctor 
I knew — that you would send for me. 

Mrs. Lattin 
Ah! The medical journals! My case, 
of course — its peculiar — er — its hopeless- 
ness. 



KARMA 25 

Doctor 
There are no hopeless cases. (He smiles. 
His voice is very gentle. ) 

Mrs. Lattin 
(Bewildered.) You are very ki — good. 
I thank you, already. 

Doctor 
(Shaking his head quietly.) And you al- 
ready — I see — are on the way to your 
recovery. 

Mrs. Lattin 
Recovery ! 

Doctor 

Since you realise that you are very ill. 

Mrs. Lattin 
Oh — in that sense. 

Doctor 
In every sense. 

\_She is more and more aware of some- 
thing unusual in him. She keeps 



26 KARMA 

her gaze steadily on his face. She 
makes a gesture towards him, then 
hesitates. She seems on the point 
of saying more — speaking more 
freely. 

Mrs. Lattin 

I think — there must be a mistake some- 
where. I don't quite understand how 

you 

Doctor 

There are no mistakes. 

Mrs. Lattin 

But you are sure it is me you have come 
to see? 

Doctor 
It is you. 

Mrs. Lattin 

Mrs. Lattin? \_He bows his head. 

In this street and house — 13 Bristol 
Square? 



KARMA 27 

This street, this square ( moves nearer and 
puts his hand upon her head), this very- 
house you occupy — for the moment. 

\_She stares at him. They smile. She 
is aware of another meaning in his 
words. A touch of awe shows in 
her manner. 

Mrs. Lattin 
(Low.) This— body? 

Doctor 
Which, for the moment, you — are occupy- 
ing. Little Child. 

Mrs. Lattin 
{Awed.) You know that name! My 
husband's secret name I 

Doctor 
It is — your name. 

[He moves hack a step so that she can 
see the picture. One hand he 



28 KARMA 

stretches toxvords her as hi blessing. 
Her eyes furn from the Egijptian 
night-scene to his face again. 

Mj's. Lattin 

{Softh/, to herself.) My little secret love- 
name. It is too marvellous — this. I am 
completely at a loss to — (breaks off, as he 
looks down and smiles at h^r). 

Doctor 
Love names truly always. 

3Irs. Lattin 
He . . , has . . . always . . . called me so. 

Doctor 
He has loved you truly — always. 

3Irs. Lattin 

[Sitting 2ip.) But you know everji;hing 
in the world! Who are you — really? [Awe 
increases in her.) 



KARMA 29 

Doctor 
I am the Doctor. 

Mrs. Lattin 

Doctor! The greatest calhng in the 
world! A doctor's powers 

Doctor 
Are, by rights, divine. 

Mrs. Lattin 
Life or death 

Doctor 
Life and death. 

Mrs. Lattin 

(Hushed.) But — you are more than 
doctor; you are also — Priest. 

Doctor 
I am at your service. 



30 KARMA 

Mrs. Lattin 

(Light breaking on her face. She 

stretches out a hand to him. He takes it.) 

To heal me. I feel great power pouring 

from you — into me. It is like wind and fire. 

Doctor 
Life is a wind and fire. It is life you feel. 
Your claim is great, because of your great 
wish, your true desire. You deserve. And 
I have come. 

Mrs. Lattin 
(Puzzled.) Deserve! My great desire! 
My claim ... I 

Doctm- 
Your sickness is not of the heart, but of 
the soul. Your desire was prayer. 

Mrs. Lattin 
You have read my heart. 

Doctor 
Little Child, it is in your eyes. 



KARMA 81 

Mrs. Lattiit 
And you know my very soul. 

Doctor 
Little Child, I am come to heal it. 

Mrs. Lattin 

Recovery! You said recovery. While I 
lie dying here by inches I 

Doctor 
You love. 

Mrs. Lattin 

With aU my heart. 

Doctor 
And — soul? 

\^He looks questioningly down at her 
with great tenderness. Her expres- 
sion shows the dawn of compre- 
hension. 



32 KARMA 

Mrs, Lattin 
{Very low.) I love — wrongly — some- 
where. I forgot — my soul. And I have 
wrecked him, wrecked his life, his work. 

Doctor 
(To himself.) Again. 

Mrs. Lattin 

{Not catching his word.) Is there re- 
covery for that? Can you heal that? 

Doctor 
He does not question your love for him? 

Mrs. Lattin 
He is too big-hearted. He has sacrificed 
all for me. It is regi*et and remorse that kill 
me now — they bring death more quickly. If 
only I could understand! 

Doctor 
You shall. 



KARMA 33 

Mrs. Lattin 
{Bitterly.) When it is too late. Can you 
give recovery for that? Can the forgiveness 
that I crave — his forgiveness — undo what 
has been? {Hides her face and sobs.) I 
must die without forgiveness. 

Doctor 
Recovery begins with understanding. 

Mrs. Lattin 
I want his forgiveness. 

Doctor 
You must — forgive yourself. 

Mrs. Lattin 
Oh, oh, I do not understand. My re- 
morse goes with me even into the grave. 

Doctor 
Remorse brings weakness. The forgive- 
ness of another aflPects that other only. 



34 KARMA 

Mrs. Lattin 
(Looking up.) Yes? 

Doctor 
Understand. Then, without regret, go 
forward. To forgive yourself is — true for- 
giveness. 

Mrs. Lattin 

I feel something wonderful in you. Your 
words bring life again . . . I . . . There 
seems something I remember — remember al- 
most — very dim and far away. . . . (Her 
eye falls upon the Egyptian picture. She 
gazes fascinated at it.) The stars . . . the 
river . , . are rising, surely . • • 

Doctor 
You remember — life. And life shall teach 
you this. 

Mrs. Lattin 

Life! My life! Oh, what is it rising in 
me? A curtain lifts. I see . . . myself. 
Ah, now it goes again . . , The pain . , . 



KARMA 35 

the pain is awful! It all has been before 
somewhere, I know . . . Have I done this 
before, then? If only I could see, I might 
understand. 

Doctor 

You shall see. Understanding shall bring 
recovery. 

[As he speaks he retires slowly hack- 
wards towards the open door. Her 
eyes remain fixed upon the picture. 

Mrs. Lattin 

Recovery ! I half remember ... I begin 
to . . . understand , . . ! 

Doctor 

The soul reaps ever its own harvest, for 
the soul is linked to all its past. 

Mrs. Lattin 

(Faintly.) The past I My past . . • ! 
Our past together . . . 



36 KARMA 

Doctor 

Your pain and prayer may lift for once 
the curtain. Remembering, you shall under- 
stand. And, understanding, you shall learn 
to — forgive yourself. 

[^ light falls on Ms face and figure hy 
the door. Just before he disap- 
pears she tears her gaze away frojti 
the picture, and turns to him with 
outstretched hands. He raises his 
hands as though he were lifting a 
curtain and holding it up. 

Mrs. Lattin 

It lifts, it lifts! I hear wind among the 
palms, and lapping waters. A voice is 
whispering . . . "Little Child" . . . yet in 
another tongue . . . 

IFrom beyond the door his last words 
reach her with a distant ^ half- 
chanting sound. 



KARMA 37 

Doctor 
Egypt! Wheie you began — with him. 
Your earhest life. Then other lives as well. 
See — and understand. 

[^She sinks back exhausted. Her face 
is radiant through her tears. She 
has just strength enough to touch 
the pneumatic hell beside the bed. 

^ CURTAIN 



ACT I 

THEIR FIRST LIFE TOGETHER. 
TIME— 2000 B.C. 
EGYPT 



CHARACTERS 

Menophis, a young Egyptian, well bom, about 

30. 
Nefertiti, an Egyptian dancing-girl. 
Sethos, Egyptian youth. 
Rames, High Priest in Temple of Aton. 



ACT I 

Scene — Banks of the Nile. White temple visi- 
ble in distance. Kephren^s Pyramdd seen very far 
away. 

Late evening, sunset. 

( Nefertiti atid Sethos enter and pause. ) 

NefertiU 
Now leave me, Sethos. And go swiftly. 
( With gesture of pushing Mm off. ) I must 
be alone. You follow me as wind follows 
a bird. 

Sethos 

Yet never touch you as wind does the 
bird. And when you dance your feet dance 
on my heart. No other dancing-girl com- 
pares with you. 

NefertiU 

Last moon Pharaoh himself told me that. 

I know it. But now leave me. I am here 

to worship. 

41 



42 KARMA 

Sethos 

(Supplicating.) May I not stay a mo- 
ment — at least, until Menophis ? 

Nefertiti 

Sethos, you heard me. It is the sacred 
night. The tear of Isis falls into our River 
when the dusk has passed to darkness. And 
I must worship. 

Sethos 

Menophis comes also with the dusk. You 
meet here every evening ; and when he comes 
I am forgotten. May I not stay and be 
remembered — till he comes? (Implores.) 
Your beauty makes me slavish. Out of his 
plenty he will not miss so little, and I — 
starve. 

Nefertiti 

Not now. Sethos, I tell you, go! His 
coming, as you know, makes the dry desert 
live for me. I would not have him troubled 



KARMA 43 

for so little. He hardly is aware of your ex- 
istence — as yet. But, should I ever need 
you — slave ! 

Sethos 

(Eagerly.) As yet! Need me! Oh, 
Nefertiti, if you could use me I should die 
of happiness. 

Nefertiti 

Then prepare to die, for the time may 
come. 

Sethos 
Oh, may it happen soon! 

Nefertiti 

(Teasing.) The Gods alone know what 
may happen, and when. You are my slave. 
Then, vanish! 

Sethos 

(Bowing.) Your slave obeys. (Rising.) 
But your lover will wait among the palm- 
trees yonder. Menophis may not come. 



44 KARMA 

The Gods know what will happen, and it 
is said the Gods have claimed him for them- 
selves. He is a prize, it seems, that earth a'ld 
heaven both desire. I have heard rumours. 
{Moves off Imgeringly.) If you need escort 
back to Memphis your lightest call will reach 
me. 

Nefertiti 

Go! I shall not need your escort. My 
happiness and his are in the keeping of the 
Gods. Leave me to worship. 



SetJios 

{With boy's passion.) Oh, Nefertiti, the 
wild sweetness of the desert is in your breath ! 
To me you are holy as our sacred River! 
May the Gods grant you all your heart's de- 
sire. Sethos is your slave for ever — even 
though his heart should break. 

lEmt, slowly, looking back. 



KARMA 45 

Nefertiti 
(Smiling to herself.) A slave is always 
useful — for slavish purposes. I may put you 
to the test some day! 

]^She Watches him out of sight behind 
the palms, then goes to the water's 
edge and splashes idly with her 
hare foot several times in succes- 
sion, accompanying each splash 
with a remark. 
He'll bury himself in the Temple. . . . 
He'll bury himself in my arms. . . . He'll 
become a monk at Rames' bidding. . . . 
He'll become mine. [Makes biggest splash 
of all.) I've got him . . . under this very 
foot! {Hears his footstep.) 

Menophis 
(Entering.) You here! Nefertiti! (She 
pretends not to hear. She is worshipping.) 
Nefertiti! 

Nefertiti 

( Startled. ) Menophis ! 



46 KARMA 

Menophis 
You worship here at dusk . . . beside the 
Nile! 

Nefertiti 
I often come at sunset — as you know. 

Menophis 
I . . . had . . . forgotten. 

Nefertiti 

Forgotten! Has some Afreet bhnded 
you? Only last night, too, you passed me 
by without a glance — on your way to Aton's 
new Temple. 

Menophis 

It was moonless and I did not see you. 
No Afreet power could hide you in the 
sunshine. 

Nefertiti 

(Mocking.) Oh, thank you, Menophis. 
I thought your heart was too full perhaps 
to see me. 



KARMA 47 

MeTioyhis 
You have been worshipping alone — and 
you were lonely. Forgive me, Little Child, 
I 

Nefertiti 
I forgive you, O handsome Menophis. 
But I was not lonely. Sethos kept me com- 
pany awhile. 

Menophis 
Sethos! The Syi-ian banker's son! You 
can find pleasure in such company? 

Nefertiti 
(Softly.) You did not come here to talk 
with me of Sethos. You came, like me, to 
worship ! 

Menophis 
He is rich. 

Nefertiti 
He is forgotten too. When you call me 
"Little Child" the whole world is forgotten. 
There is only — You, 



48 KARMA 

Menophis 
Little . . . Child. 

NefertiU 

{ Goes closer. ) Your eyes seem strange to 
me to-night: they look far away into space. 
Your voice sounds distant like the desert 
jackal's cry. {She puts a hand 07i his and 
looks searchingly into his eyes. ) Yet you call 
me Little Child, as of old, when we met here 
every evening in the dusk ... to play and 
talk and dream together ... of the future. 
Menophis (taking his other hand and draw- 
ing her body closer to him ) , will you not tell 
me — your Little Child — this sacred night 
when the Tear of Isis bids our river rise — 
tell me what wonderful new dream has crept 
into this faithful heart? (Lowers her head 
as though to hear its heating.) I hear an- 
other music in your blood. (Lifts her face 
to his.) And it is . . . beautiful. (Waits 
for his reply.) 



KARMA 49 

MerwpMs 
It is the Sacred Night. That means — 
Had you forgotten? 

Nefertiti 
(Alarmed, but half teasing.) Oh, you 
S olemnity ! Forgotten what ? 

MenopMs 
(Gravely.) A choice — a decision — ^made 
to-night is made for ever. 

Nefertiti 
(Low.) I know. 

Menojjhis 
Little Child, it is for me a crisis, and I 
must choose between great issues. My life, 
too, is rising. I must decide in what direc- 
tion it shall flow. 

Nefertiti 
You mean . . . with whom? 



50 KARMA 

Menophis 
For whom. 

IHe turns Ms head a moment towards 
the distant Temple of Aton^ just 
visible still in the last sunset light. 
Its whiteness gleams. She notices 
the gesture. 

Nefertiti 

How cold it has grown. Menophis . . . 
I feel the desert-wind's fingers at my heart. 
It is the North wind from the sea. You, 
too, seem distant suddenly. {Lowering 
voice.) I fear for you. Why is it? I fear 
something . . . for myself ... as well — -. — 

Menophis 

There is no fear this sacred night. There 
is courage only. Life increases everywhere. 
The river rises. The Tear of Isis falls into 
the Nile and 



KARMA 51 

Nefertiti 
Hark! (She listens.) There are awful 
things about in Egypt when 

Menoj^Ms 
She is alive, that's all. 

Nefertiti 
Listen ! 

MenopMs 
It is the lapping waves. It is the wind 
among the palms. 

Nefertiti 
(Whispering.) The waters! That cold 
desert wind! It blows between us — between 
you and me. There is a shadow! (Shud- 
ders closer to him.) Surely great Kephren 
bowed this way! 

Menophis 
The stars shine over us. They cast no 
shadow. The pyramid stands fast. 



52 KARMA 

Nefertiti 

Yet something passed between us, for I 
felt it. {Grips hirn.) You are all mine? 

Menophis 

(Holds her close.) There is no room. A 
shadow cannot separate us. Anything real 
would bind us closer only. 

Nefertiti 

Then why are you so solemn, your eyes 
so far away, your voice so distant? This 
crisis that you speak of — it could not take 
you from me? 

Menophis 

Nothing can take you from me, or me 
from you — for long. The chain of our past 
and future lives is bound together beyond 
all breaking. 

Nefertiti 

What is it, then, that frightens me ? 



KARMA 53 

Menophis 
( With grave tenderness. ) Ah, Nefertiti, 
Little Child, to-night I stand — we stand to- 
gether — at the very gates of life. The 
choice is difficult, for it involves you too. 
Since first, three years ago, I saw you flit- 
ting, like a swallow, down the river bank at 
Memphis — since those enchanted days I 
have had no other human love but you 

Nefertiti 
( Startled. ) No other human love ! 

Menophis 
(Slowly.) There is another love, my 
Nefertiti — a greater; not more enduring, 
perhaps, but nobler. For it demands the 
greater sacrifice. And, cold though it seem 
to your warm, passionate heart — if it should 

call me 

Nefertiti 

{Catching him by the arm.) Greater! 
Yet would take you from me ! But you are 
mine! 



54 KARMA 

MenopMs 

Your beauty troubles nie; my blood re- 
bels. I cannot look at you and hear the call 
this sacred night may bring me. I must 
make a still place for my soul to listen. 
(Slowly.) Oh, Nefertiti, you must leave 
me — for a little. 

Nefertiti 

Not knowing what is in your troubled 
heart! Not hearing from your own lips if 
we shall meet again ! 

MeTwphis 

(Sees Rames approaching.) You should 
know all. If not from my lips, then 
from 

Nefertiti 

(Sees Rames too.) Rames, the great 
Priest ! I understand. He would steal you 
from me for his dismal Temple, steal you 
away from life. 



KARMA 55 

Mervophis 
He is among the wisest and noblest of our 
land, the Great One of Vision, Aton's ser- 
vant. 

Nefertiti 

{Pouting^ alarmed.) AtonI 

Menophis 
Hush! Be careful! Even if Aton takes 
me, the chain of lives must bring us again 
together. It were but a brief separation — 
a sacrifice of pain and joy we both may offer 
as one being. And when, in our next life, 
we meet again, what ecstasy of strengthened, 
purified love would be ours — to know each 
had been faithful to the other — for His sake. 

Nefertiti 
(Roused.) Me grow old in loneliness 
wiiile you satisfy your soul with selfish wor- 
ship ! Our sacrifice ! 

Menophis 
In dreams we still 



56 KARMA 

NefertiU 

We should never meet; a dream's a dream. 
No children would come to me. 

MenopMs 

You would not pine. It would be, for 
both of us, a preparation for our meeting 
in a future life 

NefertiU 

{Playing 07i his feelings.)Yo\\ are right, 
Menophis. I should not pine, for I should 
marry and know joy. Your sacrifice, if 
you choose it, you may bear alone, for 
Nerf ertiti will not certainly be lonely. There 
is no lack of those who offer life to her in 
place of the dream that Rames sets before 
you 

Menophis 

Others! Is there another? Nef ertiti 
! {Approaches. ) 



KARMA 57 

Nefertiti 

(Withdraws.) Rames is coming. I hear 
his cautious step. Make your choice with 
him. I will not influence you. You wished 
to be alone; I'll leave you. (Makes to move 
away. ) 

MenopMs 

(With passion and regret.) One mo- 
ment more. Will you not say farewell? 
And if — and if — until you hear from my 
own lips 

Nefertiti 

(Softly.) If you decide to leave me, 
Menophis, you will not quite forget 

3Ienophis 

Little Child, you know. Always I shall 
think of you 

Nefertiti 

(Mocking.) As happy and light-hearted 
— with another. I am no "dream" to Sethos. 



58 KARMA 

Menophis 
Your beauty tortures me. 

NefertiU 

You do not torture me; you cannot. If 

you loved me you could not give me up 

so lightly. You may think of me — of iis — 

walking along this river bank at sunset with 

laughter and without regret, talking maybe 

of Menophis, and his passing dream. The 

echo of our laughter may reach into your 

little cell. 

Menophis 

(Advancing.) Unsay those haunting 

words. 

Nefertiti 

It is but impulse that betrays you. You 
have a "greater love" than me. I have one 
too! Farewell. I shall not come again un- 
less you call me. [Eait. 

[Menophis paces to and fro, hides his 
face in his hands, sighs, looks after 
the girl, pauses, then hows his head 



KARMA 59 

and waits while Rames comes up 
to Mm. 



Rames 

Your eyes are troubled, although I cannot 
see them. (Looks down at the young man's 
footsteps. ) And your steps leave an uneven 
pattern on the sands. 

Menophis 

(Looking up. ) There are too many voices 
in my ears; and all are sweet. I know not 
which is true. I am unhappy and afraid. 
My peace of yesterday is gone. 

Rames 

These stars that watch you now shall 
watch your future lives as well. Before they 
pale at dawn they shall have marked your 
choice. They are rising in the east. They 
watch you — and they wait. 



60 KARMA 

MeTwpMs 

(Turning Ms look away from the shy.) 
I came here to find peace — between the sun- 
set and the sunrise. 

Itames 

Sunrise and sunset — the two great mo- 
ments of the day. Death and resurrection — 
the two great moments of our life. ( Watches 
him closely.) 

Menophis 

Not death — a disappearance only 
(smiles) for a little time. 

Rames 
(Pleased.) To return again and again, 
each new life linked to those that went be- 
fore; and each determined bj^ opportunities 
left or taken. 

Menophis 
The choice! Oh, Rames, there are two 
calls in me. I hear two voices always. My 



KARMA 61 

future life hangs upon the decision that I 
make. 

Ttames 
You will not make it. It will make itself. 
The stronger call must win (points across 
the Nile towards the sinking sun). It is 
whether you shall live unto yourself alone, 
or consecrate your powers to Aton. (Points 
towards the Temple.) It is not alone your 
future life that hangs upon the choice; it is 
your future lives. 

[They spread their arms and how to- 
wards the West. The sun sinks 
below the Libyan horizon of the 
desert. The dusk creeps up. 

Menophis 
(Rising.) If only the whole of me could 
choose. I should then know that I am 
worthy. 

Rames 
(Approving.) There can be no half- 
heartedness in the service of our Deity. 



62 KARMA 

Menophis 

( With enthusiasm. ) Our Deity — the sun ! 

[Turns and gazes at the great Temple 

of Aton whose white columns still 

gleam in the golden after-glow 

some distance across the desert. 

Rames 
(Moving closer, with hand on his shoul- 
der. ) Egypt, our great land, now witnesses 
the climax of her splendour. A change, 
which is divine, steals over her. It is no 
longer the mere disc of the sun we worship ; 
it is the power behind. 

31enx)phis 
(Reverently.) The heat and glory that 
are in Aton, eternal and all-loving Deity. 

Rames 
(Smiling.) Who calls you for the offer- 
ing of — yourself. (Pauses.) The Temples 
of our regenerated Egypt demand the best. 



KARMA 63 

MenopJiis 
{Eagerly.) And I might help towards 
this great upHfting? 

Rames 
( Gravely. ) Menophis, Aton calls you to 
himself. 

Menophis 

{Enthusiasm and awe on his face.) I 
hear the call! 

Rames 
{Slowly.) But other, lesser, calls as 
well? 

Menophis 

There can be no turning back I 

Ra7nes 
No turning back. 

Menophis 
I must be sure! 

Rarnes 
It is for ever. 



64 KARMA 

Menophis 
{Very low.) I know which call is high- 
est, yet I hear that sweeter voice. If only 
I could smother it. 

Rames 
( Understanding. ) It is the lust of life — 
of woman I 

Menophis 
It is love. 

[The dusk is turning into darkness. 
The stars begin to peep. 

Rames 
I may not influence you. Years ago I 
heard these two calls, as you do, singing in 
my soul. 

Menophis 

(Looking eagerly, with respect, into the 
old mans face.) And you have never 
known regret? 

Rames 

(Gravely.) I have known perfect joy. 



KAIIMA 65 

Menophis 

To yield what is most dear to another is 
very hard. Oh, Rames, I am so young, the 
choice is difficult. If I had some sign that 
Aton accepts me ! {IVith rising pas- 
sion.) Aton, guide my decision and grant 
my choice be wise! 

[Nefeetiti is seen returning. Sethos 
is with her. They are laughing 
together. Sethos" arm is about 
Nefertiti. Menophis does not 
see them. 

Rames 

Weigh carefully. Hear every call with 
honesty. Aton, indeed, does call you, but it 
is all or nothing. ( Withdraws slowly down 
river bank towards the Temple. Waves his 
hand solemnly.) I leave you — to yourself. 

[Exit. 
Menophis 
Great Aton, guide me. 



66 KARMA 

\_StretcTies arms to the shy; looks up at 
stars. Then hows his head upon 
his hands in prayer. Nefertiti 
draws near with Sethos. 

Sethos 
My head spins, Nerfertiti. Then it was 
in play that you dismissed me? I can hard- 
ly believe my happiness is real. 

[Tries to embrace her. 

Nefertiti 
(Escaping gaily.) Everything's real — 
at the moment when — you've got it. 

[Menophis hears their voices. Turns 
and sees them,. 

Menophis 
With .-. . Sethos ..... I {To her. ) You've 
come back ... I 

Nefej'titi 

{Pretending she has just noticed him.) 
The river bank is public, I believe. All 
Memphis will be here presently — this sacred 



KARMA 67 

night. (Mocking.) Forgive me — forgive 
v^ — if we disturbed your meditations. 
{Glancing at Sethos.) We enjoy the star- 
light like the other lovers! 

MenopMs 
Together ! 

Sethos 

A young girl does not come out unat- 
tended. I am proud that Nefertiti accepts 
my protection — as before. 

Menophis 
Little Child! 

Nefertiti 
(To Sethos^ laughing.) Menophis, you 
know, is half a priest already. He has put 
aside all common things — youth, dancing, 
laughter — love. 

Sethos 

{Half insolently.) Wise Menophis! I 
envy a man grown old before his time. He 
has had some bitter disappointment prob- 
ably. 



68 KARMA 

Menopliis 

(Suffering keenly.) If you really love 
each other, I 

SetJios 
Come this way, Nefertiti. I hear a pipe. 
(Melody on pipe heard faintly.) Let's go 
and dance. This atmosphere is too holy. 
(Tries to draw her away.) 

Menophis 
(Pain.) Can this be a sign from Aton — 
that you are worthless? 

Nefertiti 

(Stung.) We'll dance, yes, as we did at 

Memphis when the harvest ripened. And 

then we'll bathe together, Sethos. It all is 

worship, and my blood this sacred night is 

burning 

Sethos 
(Wild.) And to-morrow I may see your 
father ? 



KARMA 69 

[Nefertiti whispers in his ear. They 
laugh. He tries again to kiss her. 
She escapes again, and dances se- 
ductively, taking care to go close 
past Menophis^ who makes several 
half movements towards her, hut 
controls himself. 

Nefertiti 

(Singing mischievously to the tune of the 
distant pipe, and holding Sethos by the 
hand. As she goes past Menophis she holds 
out her free hand to him temptingly.) 
"Come, dance together. Take my hand 

Beside the rising river; 
We'll dance upon the starlit sand, 

And then through life — for ever!" 

Menophis 

(Catching at her hand as she flits past.) 
Nefertiti! 

Nefertiti 

(Escaping his touch. Still hand in hand 
with Sethos.) I heard a dead voice call- 



70 KARMA 

ing from a Tomb. {To Sethos.) It's not 
for us. We are alive ! 

[Sings as before^ glancmg mockingly 
at Menophis^ who again would 
seize her as she goes by. 
"The rising river takes our feet, 
And life flows full of laughter; 
Come, dance with me while youth is 
sweet " 

Mervophis 
(Touching her.) Little Child! 

Nefertiti 
(Slowing down. Sings last line linger- 
ingly.) 

"The wedding follows after!" 

Menophis 
My Little Child. 

Sethos 
(Trying to draw her away.) Come, Ne- 
fertiti. Come with me, lest the Temple 
snatch you, too. 



KARMA 




71 


M 6710 phis 






; waters wait 


the 


sign! 



Listen! The 
(Warningly.) A few brief moments and 
the Tear of Isis falls — and the choice is 
made, not for this life only, but for ever. 
(Solemnly to Nefertiti.) You would bind 
your soul to his . . . for all future lives . . . for 
ever? 

Nefertiti 

{Drawing hack.) "For ever*'! 'Tor all 
future lives"! For an hour — a few hours, 

perhaps 

Sethos 

You swore to me that you 



Nefertiti 
I danced and played and sang with you. 
You dance lightly and your voice is sweet. 
But — if it is true that vows taken to-night 
can bind me to your soul for ever 

Menophis 
It is true. 



72 KARMA 

Nerfertiti 
...the journey would tire me. 

Sethos 
Nefertiti! 

Menophis 

{Steps between them. Nefeetiti hesi- 
tates.) Let her alone. Since her eyes first 
opened to the sun she has been mine. A 
hundred future Hves shall take our feet to- 
gether. And she knows it. She plays with 
you — this singing, dancing. She lives with 
me. {Seizes her, all else forgotten.) Leave 
us together, Sethos. Go! 

Nefertiti 
I played with you. You know it. {To 
Menophis.) You had forgotten our ap- 
pointment! I did it — for my love's sake. 
[Sethos shrinks from Ms sudden vio- 
lence, startled, hut keeps her hand. 

Menophis 
She has finished with you. Go! 



KARMA 73 

Sethos 

(Sneers.) Finished! You are mistaken, 

Menophis. Only a while ago she said my 

love was precious to her — (Realising.) You 

(to her) have strange ideas of play. You're 

a 

Menoyhis 

(Threateningly.) Enough, Sethos. You 
knew, at least, that we belonged to one an- 
other. You have yourself to blame. 

Nefertiti 
(Proud of him.) Of course. Sethos says 
the same sweet things to many another 
maiden too. 

Sethos 

(Bitterly.) The Gods have set me free 
of you, and I am glad. When next we 
meet, Menophis, you shall hear the soft 
promises she made me (turns his hack to 
go) J and how she spoke of you! (Moves 
faster, as Menophis advances threatening- 
ly.) She called you half woman and half 



74 KARMA 




monk — ^no man at all {runs), fit. , 


, .only. . . 


for., .the Temples! 


[Exit. 



Nefertiti 
{A last shot at him.) Yet if I raised my 
little finger you'd come tmnbling back — a 
helpless slave! {Turns to Menophis.) I 
am ashamed. {Demurely.) I did pretend 
he pleased me. 

Menophis 
Little Child .-V. 

Nefertiti 
{Happy.) I was a little jealous of — of 
— your Aton. 

Menophis 

And I, perhaps, of your . . . Sethos. 
[They smile and embrace. The pipe 
is heard. She breaks away and 
dances before him happily. 

Nefertiti {sings) 
"Come, dance with me, and take my hand 
Beside the rising river; 



KARMA 75 

We'll dance upon the starlit sand. 
And then through hfe — for ever." 

MeTwpliis 
You are a daughter of the sun! 

Nefertiti 
Isis and Aton both are in our blood! 

Menophis 

Your beauty blinds me. I hear no other 
voice than your dear singing. I see no 
stars, your twinkling feet are everywhere. 

Nefertiti 
(Triumphantly.) It is the call of Life. 
\^A sound is heard, like wind in an 
Eolian harp, faint. 

Menophis 
(Startled.) Listen! The moment comes. 
[With the sound is mingled the lapping 
of water. 



76 KARMA 

Nefertiti 
(Awed.) It is here. 
\_A star falls froin the sky. 

Both together 
The Tear of Isis! 

Meriophis 
Our river takes it. 

Nefertiti 
The waters rise. 

Menophis 
Our choice is made — for ever. 

Nefertiti 
My beloved. (Embrace.) Mine... for 
ever and ever ... all our future lives. 

Menophis 
The Temple was a dream. Your beauty 
makes me see it. (Breaks off as he sees 



KARMA 77 

Rames and Sethos approaching through 
the palms.) Rames comes. [Makes to 
hide.) Great One of Visions! 

Nefertiti 
(Triumphantly.) And Sethos with him. 
Let them see us both. [Catches his arm.) 
Do not hide, but tell them boldly of your 
glorious choice. 

[Rames and Sethos have been talking 
together. Sethos now turns and 
goes off towards the Temple, walk- 
ing slowly with bowed head, but 
looking back over his shoulder 
sometimes. Disappears. Rames 
comes slowly forward. Holds up 
his hands to bless them. 

Ramies 
[Smiling gravely.) May Aton bless you 
both — now — and in all lives to come. 

Nefertiti 
[Confidently.) Aton has blessed us — 
both. 



78 KARMA 

Menophis 
(Dazed J troubled.) Rames — you come to 
know my choice. ( Very gravely. ) The Tear 
has fallen. The river is rising, and I — 
(lowers head) I have heard the call. 

Rames 
The choice is yours — (solemnly) and 
hers. 

Menophis. I havel . „, 

^- . . . TT , r chosen. ihe ris- 

Nejertiti. He has J 

mg waters and the risen stars bear witness. 

Rames 
They . . . bear^o . witness. 

Menophis 
(Half sadly to Rames.) I have weighed 
both voices. Another — a worthier than I — 
must replace me in the Temple. 

Rames 
Aton does not compel. The call will come 
to you again — in following lives, until 



KARMA 79 

Nefertiti 
{Interrupting.) Our love comes from 
Aton. He has given Menophis to me for 
my own. 

Rawxs 

All gifts are his. 

Menophis 
Holy Rames, I cannot let her go from me. 

JRames 
(Solemnly.) The choice is made. The 
future lives will bring again, and yet again 
{turning to Nefertiti), this same deep op- 
portunity, when you — again — shall lead his 
soul higher, or {uith emphasis) delay and 
hinder by vain selfish love. 

Nefertiti 
'(Defiant, yet frightened.) He is mine 
— for ever. No priest or god shall rob me 
of him. I keep him for myself. (Clutches 
him. ) 



80 KARMA 

Mames 
The rising water bears witness to your 
vow. (With prophetic and intense grav- 
ity.) Wliere the Temple gleams white in 
the sunlight, and where the palaces run 
down to the sea, you shall hear the waters 
in your soul — and — shall — remember. 

Nefertiti 
(Alarmed.) Listen! He prophesies! 

Menophis 
(Awed.) Great One of Visions! 

CURTAIN 



ACT II 

THEIR SECOND LIFE TOGETHER. 

TIME— 325 B.C. 

GREECE 



CHARACTERS 

Phocion (40), Athenian General. 

Lydia (35), his wife. 

Lysander, a youth, Phocion's brother. 

Alexander the Great. 

Athenian Citizens. 



ACT II 

Scene — Room in Phocion's house in Athens. 
Simple. Altar to Zeus zdth brazier burning. Col- 
onnade with pillars amd liew towards Acropolis. 

Late evening. 

( Lydia is half -kneeling^ Imlf -leaning over 
the marble balustrade, gazing into the dis- 
tance. Enter Phocion. He comes near 
and touches her.) 

Lydia 

How you startled me! 

Phocion 

Were your thoughts so far away, Little 
ChUd? 

Lydia 
I was thinking. 

Phocion 

And gazing across the sea as usual. What 
is there so attractive beyond that dim hori- 
zon? The future or ? 

83 



84 KARMA 

Lydia 

Perhaps its dimness only. That's south- 
wards, is it not? There Egypt lies, and — 
Alexandria — you said — the great, new city. 

Phocion 

(SearcMngly.) Distance still haunts 
your eyes. Little wonder that I startled 
you. (Kisses her.) But do not speak of 
Alexander's city. Our thoughts lie nearer 
home — in Athens. 

Lydia 

Where have you been, Phocion? All day 
I've missed you. 

Pliocion 

On the hills — alone. I have been think- 
ing. 

JLydia 
Thinking — you too! 



KARMA 85 

Phocion 

I came home by way of Theseus' Temple, 
saying a prayer for our loved city and for 
ourselves. 

Lydia 

But you are weary, and your feet are 
splashed with mud. 

Phocion 

I crossed the Ilissus to be sooner home, 
and found it rising — in flood almost. Yes- 
terday's rains on Mount Hymettus — 
{breaks off as she makes a sudden gesture) . 
Why, what ails you, Lydia? Do I startle 
you a second time? 

Lydia 

Forgive me, Phocion; do not notice my 
little weaknesses. It was merely — there, 
I've often told you — a rising river is an 
omen that causes me strange uneasiness. 



86 KARMA 

Phocion 
Little Child, I understand. I know your 
feelings. Athens herself is on edge these 
days — and little wonder. 

Lydia 
Phocion, let me tell you honestly — I am 
afraid. 

Phocion 

Anxious, perhaps, but not afraid. The 
mood of our beloved city takes you with it, 
as it takes us all. We all are patriots to-day. 
But the wife of Phocion has proved herself 
no coward. 

Lydia 

{Low voice.) Alexander is so powerful. 
Some say the Macedonian is a God. 

Phocion 
Pshaw! In his own land, perhaps. But 
Athens has her own Gods. He is a con- 
queror, yes; but a conqueror can only take 
a city, not the souls who dwell in it. 



KARMA 87 

Lydia 
(Softly.) Phocion, when I hear your 
words my fear melts away. Yet Athens is 
conquered. Our city trembles 

Phocion 
Hush, Lydia. I do not like to hear you 
say such things. 

Lydia 
Who can stand against him, then? Who 
is there can oppose this conqueror of the 
Persians ? 

Phocion 

Every Athenian — every Greek who loves 
our city more than he fears the Macedonian. 

Lydia 
All Athens, then! 

Phocion 
All the best in Athens. 

[Lydia looks nervously over her shoul- 
der towards the city and Acropolis. 



88 KARMA 

The dusk deepens. The first star 
shows. 

Lydia 

(Shudders.) Your speech ijs often mys- 
terious like this now — dark with meaning. 
Each night as twihght gathers from the 
sea about our city, there are footsteps on 
the causeway that make me tremble. No 
sooner has Hymettus darkened than shad- 
ows move silently over the courtyard and 
between the pillars. {Turns and flings her 
arms about him.) Oh, my Phocion, it is 
for you, not for myself, I am afraid. 

Phocion 

Calm yourself, beloved. I am an Athen- 
ian who obeys his unconquerable Gods. I 
do no more than accept the destiny they 
lay upon him who loves his country 

Lydia 
But if Alexander discovered you — if 1 



KARMA 89 

Phocion 
Discovered me! What thought is this? 

Lydia 

If he discovered you were true to Athens, 

I was about to say. If he took you from 

me! Oh, Phocion! In dreams I have seen 

you lying dead at his feet — lost to me for 

ever. 

Phocion 

Not lost, most loving woman. If the 
Gods take me — if I die for Athens 

Lydia 
Am I, then, less than Athens? 

Phocion 
Athens is great because of women like 
you, Lydia. You would not see her less? 

Lydia 
How less? 

Phocion 

Less free. Liberty is the breath of life. 



90 KARMA 

Lydia 

What is my liberty if I lose you? Your 
voice, your touch, your living presence here 
beside me {embraces him) — I want you 
alive and loving 

Phocion 

Our love has grown with Athens. On the 
green Cephissian banks we first discovered 
it, and that evening on Hymettus when the 
honey — ah, I see it in your eyes, dear heart 
— you remember even as I remember. If 
Athens live 

Lydia 

But if you die! If Alexander crush you, 
kill you! Oh, my Phocion, this struggle 
against the conqueror is vain. You tempt 
the Gods. I fear for you and for your hope- 
less schemes 

Phocion 
My schemes! Lydia, what do you know? 



KARMA 91 

Lydia 

I suspect only. I feel you planning dan- 
gerous things that must take you from me. 
Those silent footsteps on our causeway in 
the dusk, the shadows that pass between the 
pillars, the rising waters — Phocion! your 
strange deep love of Athens takes no account 
of me, your little, suffering wife. 

Phocion 

The love of Athens is ours. It is the love 
of country that the Gods call sacred. {Looks 
out across the fading city.) Hellas, your 
valleys and mountains, streams and happy 
groves . . . beautiful, beloved . . . who would 
not die for you ... I 

Lydia 

I love you. If you live for me, you live 
for Hellas even more. Athens lives in our 
hearts, not otherwise. 



92 KARMA 

Phocion 
(Sternly.) If a barbarian rule our dear 
city, our hearts are dead. It is better for 
my heart to mingle with the soil of Hellas 
than beat as the slave of Alexander. 

Lydia 
I love you too much to see you run on 
death. Your wild plot to save our city is 
but the Fates' way of taking you away from 
me. 

Plwcion 

Try, Lydia, to love me as I love Athens. 

Lydia 
You ask too much of me. I love Hellas, 
but I love you more. 

Phocion 
Then — not enough. (Looks away.) You 
make it hard for me. I see the right so 
clearly, but your clinging love makes me 
weak. 



KARMA 93 

Lydia 
There is nothing in the world for a woman 
but her love. If you were lost to me, 
Phocion, these lips could kiss one other only 
— the rising flood (shudders) of our little 
Athenian river — or the sea. 

Phocion 
What comes, sweet wife, comes to both of 
us together. You are overwrought with 
sleeplessness and watching. Trust me and 
love me — ^more I cannot tell you now. Your 
love shall give me strength. {He embraces 
her and moves slowly off towards the colon- 
nade.) And if there is a greater love than 
yours, some day we shall find it — know it 
both together. What comes to me to do 
now — I must do. [Goes slowly off. 

Lydia 
{At him.) A greater love! Ah, Phocion 
— you're going from me — going towards 
death. I know not what you mean. There 



94 KARMA 

is no greater love. (Watclies him disap- 
pear.) Then I must save you, since you 
will not save yourself. I cannot lose you. 
My love, I cannot let you — ( Covers her face 
with her hands). My love shall save you 
from yourself. If I do wrong the Gods 
forgive 

[Knocking is heard. She starts and 
looks round. A Messengek is seen 
in the courtyard. 
( Cautiously. ) You would see — whom ? 

Messenger 
The wife of Phocion. 

JLydia 
(Frightened.) Hush! Come softly, I 
am she. (Messenger enters stealthily.) 
You bring a message for me? You bring 
a token? 

Messenger 

(With respect.) She who sends me bids 
me sav as token this: From one who loves 



KARMA 95 

her Lord more than his earthly glory — to 
her who loves as greatly. 

Lydia 
(Faintly.) To her who loves as greatly. 
{Hesitates, slwws agitation, a distraught ex- 
pression on her face. ) It is to save him that 
I do it — to save his life for — both of us. 
{Turns to Messenger. ) Your great mis- 
tress bid you bring an answer back to her? 

Messenger 
Without delay — ^my orders are. 

Lydia 
Have you no more to say? No further 
message? Do you bring only the token that 
you come from her? 

Messenger 
She bid me say that you should feel per- 
fect confidence. 

Lydia 

The word of Alexander ? 



96 KARMA 

Messenger 
Has been given, and cannot change. 

Lydia 

Though it concern the life of one who was 
his enemy? 

Messenger 

The Queen bid me assure you. He has 
given her his promise. It will not alter. 

Lydia 
(Whispers.) Then take this message 
back to her who sent you : To one who comes 
hither to-night when the moon is high 
enough to cast a shadow I will reveal what 
I have promised to reveal. In return I claim 
the boon the conqueror has sworn — through 
her — to give me. 

Messenger 

Her word and his are both securely given. 
I take back yours. 



KARMA 97 

Lydia 
Go swiftly, silently. I shall await fulfil- 
ment here — when the moon is high enough 
to cast a shadow on the marble causeway. 
Behind that pillar I shall wait. Go swiftly! 
[Eooit Messenger. Lydia^ looking 
aruviously at the shy, withdraws in- 
to the shadow of the pillars. 
Phocion enters, his arm upon the 
shoulder of Lysander^ his youth- 
fuL brother, Lydia overhears 
their talk, 

Lysander 
{With enthusiasm.) Our last meeting 
now, and then to action. Oh, Phocion, I 
feel the Gods are with us. Your daring 
shall save Athens, and Hellas will live — 
even if we die. 

Phocion 

We all stand or fall together. They are 
picked men, and heroes ; no one among them 
thinks of self. The risk, of course, is great, 



98 KARMA 

but it is nothing when the stake is consid- 
ered. 

Lysander 
Everything favours us. The best troops 
of Alexander's army are still in Egypt. 
The entire city is behind us. All Athens 
will rise when it sees you are our leader. 
{Vehemently.) We shall drive the proud 
Macedonian out. Oh, I'm glad the talk is 
over soon! I burn for action. 

Phocion 
I, too, want action. I am not made for 
stealth and for conspiracy. Plotting and 
hesitation weary me. (Sighs.) 

Lysander 
Phocion, you feel no doubt, though — ? I 
heard you sigh. Ai-e you less sure of — of 
anything? 

Phocion 
For myself, boy, I have no doubt. For 
Athens I am sure and strong. Did I sigh 



KARMA 99 

perhaps? If so — if so, it was for others 
whose lives I hold in trust. For others — 
the truest, best, and bravest men in all 
Athens. 

Lysander 

The Gods will bear that burden for you, 
Phocion. 

Phocion 
Yes, yes ; the Gods will bear it — partly. 

Lysander 

No one can lead but you. We are of one 
accord. 

Phocion 

I will lead, Lysander. Have no fear. Of 
myself I do not think. (Looks out.) The 
moon is up. I see the evening star o'er 
Salamis. They will be here very shortly. 

Lysander 

We are quite safe here. I took the pass- 
word round myself at noon. 



100 KARMA 

Phocion 
We cannot be too cautious. Alexander's 
spies are more numerous than the bees upon 
Hymettus. They can sting as sharply too. 

Lysander 
Oh, our secret is well guarded. Yet the 
least whisper or thoughtless word could so 
easily betray us. {Looks round with a mo- 
ment's hesitation, then continues in a lower 
voice.) I only would — that Lydia 

Phocion 

Lydia I 

Lysander 

She is in great favour with Alexander's 
queen, Statira. 

Phocion 

So much the better! Since she knows 
nothing there is nothing she can reveal. 
Alexander seeks to play the generous con- 
queror. That the wife of Phocion accepts 
favours that Phocion spurns can only save 



KARMA 101 

us from suspicion. The Persian woman 
helps us without knowing it. And so does 
Lydia ! 

Lysander 

You are right, Phocion. The Gods show 
their will in little things like this. We are 
under their protection. Yet if word reached 
Alexander of our gathering in your house 

to-niglit 

Phocion 

Keep your words for later, boy ; you waste 
your strength. How can you hold such idle 
thoughts? Hellas a Macedonian province! 
Her ancient liberties crushed ! Our last hope 
dead as soon as born, and no blow struck ! 

Lysander 
Phocion, forgive me! And, Selene, in 
yonder rising moon, forgive me too. The 
Gods protect and help us! 

Phocion 
Pallas Athena, give us wisdom to plan 
and strength to strike. 



102 KARMA 

[Lydia comes forward from her hiding- 
place among the columns. The 
moonlight falls on her. As she 
moves she notices that it casts a 
shadow. Sloe hurries. Lysander 
Watches her somewhat closely. 
Ah, Lydia. 

Lydia 
You did not call me, Pliocion? It 

seemed 

Phocion 
(Smiling.) Your maidens called you 
to the bath. It is your bathing hour. 

Lydia 
(To Lysander.) Lysander, good-even- 
ing! You are fortunate. (Half laughing, 
Jialf jealous.) Phocion has more time for 
his brother than for his wife. 

Lysander 
Had I a wife as brave and faithful as my 
brother has, I should be more fortunate 



KARMA 103 

still! These are grave times, good Lydia, 
for true Athenian men. 

Phocion 
Ah, Lydia knows too well, Lysander. But 
do not detain her now. ( To Lydia. ) I will 
come later for you, Little Child — an liour at 
the most. 

Lydia 

I am always ready for you, Phocion, and 
always true. I, too, am an Athenian. 

Phocion 
The Gods watch over ycml 

Lydia 
And over you ! 

[Phocion moves to the balustrade and 
leans &ver, matching the night. He 
waits for her to go. Lydia turns 
to Lysandee, and speaks low and 
hurriedly. 
You love him, I know, Lysander, and he 
loves you. 



104 KARMA 

Lysander 
Before he even knew your name, I loved 
Phocion, (sternly) and more than Phocion 
I love Phocion's honour. 

JLydia 
And so loving him you would urge him — 
to his death. (With passion.) You shall 
not, Lysander; Phocion is mine and he be- 
longs to me. I will hold him fast to this 
life. A glorious career now lies at Phocion's 
feet. 

Lysander 

I love Phocion's honour too well to tempt 
him to dishcmour. 

Lydia 
Tush, boy! You do not understand. I 
would not tempt him. Fate does not tempt, 
it commands. The high Gods bid us to 
accept fate bravely. The weak resist it ; the 
strong accept and make it glorious. And a 
glorious career now lies at Phocion's feet. 



KARMA 105 

Lysander 
You speak with knowledge, Lydia? If 
so, how come you by such knowledge? 

JLydia 
Hush, not so loud. Lysander, you faith- 
ful brother, I tell you it is common knowl- 
edge. The Military Governorship of Alex- 
andria — once offered to Phocion already 
and refused by him — is open to him still. 
Alexander knows his worth 

Lysander 
His incorruptibihty too. But how know 
you this, Lydia? 

Lydia 
I only know that Alexander is generous 
and will raise him to even greater honour. 
He places Phocion above all men in 

Athens 

Lysander 

(Coldly.) Has Alexander's queen in- 
formed you thus. (Louder.) It seems 



106 KARMA 

strange to me, Lydia, that the wife of — an 
Athenian patriot 

Phodon 
How loud your voices grow. Lydia, Lit- 
tle Child, you had best leave us now, for 
Lysander and I have grave business to 
transact together — and we expect others too. 
{There is a low knocking at the door. 

Lydia 
Lysander chides me that I accept kind- 
ness from the queen of Athens' conqueror. 

Phodon 

I see no harm in that, and possibly much 
good. Your love will ever guide you. Fare- 
well, now, for a little while. And happiness 
go with you! 

Lydia 

I leave you. It is your friends who come 
to you at twilight now so often. The Fates 
protect you, my Phocion! {Whispers to 
Lysander as she goes.) Oh, save him. 



KARMA 107 

Lysander! Save him from himself — for me, 
his wife! 

lExit slowly, looking back fondly at 
Phocion as she goes. Lysander 
watches her with an expression 
that betrays doubt, amviety and 
disapproval. He shakes his liead. 
The knocking is repeated. It is a 
definite knock that has been pre- 
arranged. 

Phocion 
Open, Lysander. It is the Citizens. 
[A dozen Citizens enter quietly. Their 
leader holds a scroll in his hand. In 
turn they greet Phocion with ob- 
vious respect, each giving the pass- 
word, while Phocion replies with 
the countersign: 

Citizen 
The Gods deliver Athens! 



108 KARMA 

Phocion 

They will deliver her! 

[When all are in, they group them- 
selves. An elderly Citizen, //l d- 
ing the scroll, acts as spokesman. 
It is safest our meeting should be brief, 
and no words wasted. 

First Citizen 
We stand for action. 

Second Citizen 
Immediate action. 

Third Citizen 

Each day that passes consolidates the bar- 
barian power that would ruin Athens. 

Lysander 

Citizens, we need two conditions for suc- 
cess — to strike hard, and to surprise. 



KARMA 109 

Phocion 
We must move warily. The Macedo- 
nian's spies hide everywhere, and money has 
been flowing. 

JLysandei 

There are ten thousand hearts in Athens 
above gold ! 

Phocion 
(Gravely.) Our preparations must be 
sure. You bring to-night the list of pa- 
triots? 

First Citizen 

It is drawn up (holds out scroll) . Twenty 
names stand written here, each signed by his 
own hand, each guaranteeing three hundred 
men of arms 

Phocimi 
Whom we can trust? 

First Citizen 
The names are guarantee, as you will see 
— the best in Athens. 



110 KARMA 

Second Citizen 
Ready to live or die as our beloved city 
lives — or dies. 

JLysander 
And thousands more will follow once we 
show the way. 

Phocion 
Our forlorn hope (takes the scroll) is 
favoured of the Gods, and will be led by 
them, [Begins to read names. 

Citizen 
Upon great leadership hangs success or 
failure. There can be one leader only. 

Citizens 
Phocion ! Phocion ! 

Lysander 
Phocion is our leader. 

[Phocion reads rlently. Lysander 
suddenly turns his head towards 
the moon-lit courtyard. 
(Low.) I saw a figure pass. 



KARMA 111 

Citizen 

A few moments ago I saw one too — be- 
tween the pillars. 

Another Citizen 
Are we alone here? 

Phocion 

{Looking up.) My wife — and her maid- 
ens — are about. We are alone. 

First Citizen 
Once read, Phocion, the list must be in- 
stantly destroyed. Each signature is a war- 
rant for the writer's death. 

Lysander 
(Nervously.) I counsel haste. The very 
stones move as with footsteps. The sky has 
eyes. 

[Turns towards a burning brazier close 
behind him. 



112 KARMA 

Phocion 
(Calmly.) I have read. The names are 
— ^what Athens would expect. 

Lysander 
Then let me burn it. 

First Citizen 
(Rising.) Phocion, in the names you 
read, and in the names of all assembled here, 
we offer you the leadership — the military 
leadership. We ask you to lead our beloved 
city back to liberty again. (Muffled ap- 
plause. ) 

[While Phocion has been reading, a 
wcymans figure is seen creeping 
from pillar to pillar where the 
shadows are deepest. She is fol- 
lowed closely by a second figure — 
a man swathed in a head-dress such 
as that worn by the Persian war- 
rior in the Elgin Marbles. Un- 
noticed in the dimness they reach 



KARMA 113 

the colonnades where they can hear 
all that passes, 

Phocion 
(Slowly.) Citizens, in the name of 
Athens, and with the approval of the death- 
less Gods of Athens — I accept the leader- 
ship. 

\_He hands the scroll to Lysander^ who 
has stepped forward eagerly to 
seize it. Lysander turns towards 
the fire. 

First Citizen 
Then we are half-way to success already. 
(Applause.) The sooner we disband, the 
better. Three of us may stay with Phocion 
to decide the final 

\_At this moment the cloaked figure 
steps out into tlie centre of the 
courtyard. He is plainly visible 
in the moonlight. Consternation 
reigns. Phocion reaches for his 



114 KARMA 

sword. Lysajstder fumbles over 
rhe hrazier, thrusting the scroll in- 
to the flames. The Citizens stand 
firm, not trying to hide, but visibly 
startled. 

Citizen 
We are betrayed I 

Citizen 
A spy! We have been overheard! 

Citizen 
A Persian! 

Phocion 

(Self-possessed.) No stranger is unwel- 
come in my house, even though he enter — 
without permission. {Louder to stranger.) 
You would see Phocion? I am he. 

[Lydia remains hidden in the shadows. 

Stranger 
{Advancing.) I ask forgiveness for my 
unannounced intrusion. I disturb you. But 



KARMA 115 

my need is urgent. This is my warrant : I 
am a messenger from Alexander. 

^Stands erect and waits. 

Others 
From Alexander! 

Phocion 
(Calmly.) You bring Phocion a message 
from Alexander? 

Stranger 
Of first importance. 

Plwcion 
You may deliver it. 

[Lysander pauses to listen too. 

Stranger 
A gift I am bid offer first — a gift from 
Egypt, where Phocion fought so bravely 
and so well. (Holds out an object of gold.) 
From the Temple of Amnion himself in 
Lybia. 



116 KARMA 

Phocion 
(Coldly.) Phocion fights not for gifts; 
nor can he accept anything from the bar- 
barian conqueror of Athens. 

Stranger 
I am bid to urge reflection on you. First 
words are not the truest always, nor the 
wisest. (Pauses.) 

Phocion 
(Simply^ with scorn.) I am an Athenian. 

Stranger 
(Lays gift on a marble table beside 
Phocion.) Alexander commands me say 
further — that, with this gift, he would hon- 
our Phocion by yet another one. He bids 
me call you the Military Governor of his 
new city in Egypt. 

Phocion 
The two gifts are one. I have one an- 
swer only. 



KARMA 117 

Stranger 

{Smoothly.) Then, with your answer, I 
ask permission to take back some trifle — 
such as that parchment the youth there 
would destroy — as proof to Alexander that 
the House of Phocion is loyal. 

[Lysander^ startled, desists a moment. 
Phocion takes a sudden step for- 
wards. 

Phocion 
( A larmed. ) Loyal 1 



Stranger 
{Throws of disguise.) The parchment. 
[Voice of command. Holds hand out. 

Phocion 
Alexander ! 

[AU recognise Alexander. Confu- 
sion, consternation, and murmurs: 
" Alexander r '' Alexander !" 



118 KARMA 

■Aleccander 

Hand it to me, boy, before another name 
is burned. (Laughs.) 

[ Alexandee strides towards Mm. Ly- 
SANDER defies him. Alexandee 
seizes him. 
He shall be surety, Phocion, for your 
loyalty. 

[Phocion^ holding his sword, rushes on 
Ajlexandee to aid Lysander^ and 
above all to rescue the scroll. The 
Citizens stand their ground and 
are about to interfere, when Lydia 
rushes in and throws herself on 
Phocion^ checMng his violent at- 
tack. At the same moment Alex- 
ander stamps on the marble floor. 
Soldiers enter. Phocion and 
Alexander stand facing one an- 
other in silence for a moment. 
I hold you the bravest man in Athens, 
Phocion, and such men as you T need. 



KARMA lU 

(Holds out the scroll, as yet unread.) But 
lesser men than you I do not — need I 

Lydia 

Phocion ! Great Alexander ! .^, . S tatira 

promised me . . . Oh, he is too brave to 

die...! 

« 

Lileccander 

{To Soldiers.) Three of you take the 
boy away. The rest withdraw. No, let 
these greybeards go. 

lA few Citizens creep out, following 
Lysandee and Soldiers. 

Lysander 

{Calling back to Phocion.) The Gods 
will not desert us ... ! 

Phocion 

{With dignity.) You are the conqueror 
of Athens. 



120 KARMA 

'Alea^ander 
Lesser nitn than you I do not need. Give 
me your allegiance {pointing significantly 
to the scroll) and I give you — these lives! 

Lydia 
( Whispering. ) Phocion, you cannot sac- 
rifice such men! 

Citizen 

Do not think of us! What is life to the 

conquered? Gladly would we die for 

Athens. 

Alea'atider 

I wait your decision, Phocion. 

Phocion 
(Bitterly.) Phocion, Military Governor 
of Alexandria, is Alexander's host. 

Alea^ander 
The word of Phocion is enough. {Burns 
the scroll unread. ) Lysander, the boy, shall 



KARMA 121 

be Captain of your Bodyguard in Egypt. 
The Gods — your Gods — are witness to what 
I say. 

[Alexander salutes Phocion and goes 
out. Phocion is alone with 
Lydia. There is a moment's si- 
lence. 

Phocion 
(Brokenly.) Athens! I have failed you ! 
My Hfe is broken in pieces. 

[Hides face in hands. 

Lydia 
But I meant to save you, Phocion. My 
love would save you. Have I done wrong? 
Oh, tell me. 

Phocion 

(Low.) You have done — your — best. No 
one — no woman — can do more. 

Lydia 
I could not face life without you. I could 
not see you die. My love made the desner- 



122 KARMA 

ate plan. I bargained with Alexander's 
queen — life with honour and glory for you 
in Egypt, the land you love. Oh, Phocion, 
beloved, do not judge me hardly. You do 
not speak. 

Phocion 

(Patiently.) There is something here I 
cannot understand. 

IHis hand touches the gift from Egypt. 
He looks at it curiously, then looks 
out away from her, 

Lydia 
I love you too much. Is that hard to 
understand ? 

Phocion 

(Sadly.) Yet the love the Gods bring is 
otherwise ... I think. 

CTJETAIN 



ACT III 

THEIR THIRD LIFE TOGETHER. 

TIME— FIFTEENTH CENTURY 

ITALY 



CHARACTERS 

Paulo Salviati, a painter, age about 25. 
Lucia, his wife, a beautiful Florentine. 
Prince Damiano bi Medici, art patron. 



ACT III 

Scene — Paulo's studio m Venice. A hare room, 
of ohviotts poverty. Paulo painting at a large 
canvas. 

{Enter Lucia.) 

Paido 
{Turning happily.) Lucia! At last you 
return. My love, how I have missed you. 
{Kisses her.) It seemed so long. {Examin- 
ing her.) You are excited! Then my 
uneasiness was not for nothing. Tell me. 
An adventure, perhaps? An admirer, of 
course! This flush...! {Laughs.) Little 
ChHd...! {Teasingly.) 

Lu^ia 
I've been but a short hour, my Paulo. 
And, as for adventures and admirers, they 
have but one name — Paulo. {Looks em- 
barrassed slightly.) How quick you are! 

125 



126 KARMA 

Paulo 
Love makes me quick. I think I guess. 

Ltbda 
(Ashamed a little.) Listen! (They lis- 
ten. The waves of the sea are audible heat- 
ing against the outer walls.) You hear? 

Paulo 
(Patiently.) I hear, but I do not under- 
stand. It is the water only 

JLucia 
(Lower.) The rising water. (Pauses, 
while passing hand over her forehead. ) Nor 
do I understand. It is my weakness, I sup- 
pose. All women have something that makes 
them fear without a reason, and this is 

mine 

Pofulo 

(Protectively.) For which I love you all 
the more. For had you reasoned you would 
not have married me. (To himself.) 



KARMA 127 

Strange, strange. ... (^^cot;^5 gaiety and 
turns to picture,) See how it grows, Lucia. 
All that I scraped out yesterday I have 
repainted. Long before the Competition 
Day I shall have finished it. (Enthusiasti- 
cally.) Look! 

LiU^a 

The glow, the warmth, the colour — you've 
caught it all? 

Paulo 

I hope so. But when my model and my 
critic desert me both at once like this 

Lucia 
Dear Paulo. (Sighs.) And it's so diffi- 
cult for me to make five scudi do the work 
of ten. (Shows agitation.) I know, oh, I 
know. (Excitement.) Yet somehow, some- 
how we shall find a way. And it will be 
wonderful 

Paulo 
(Noticing her mood and wondering.) It 
is you who are wonderful — (shakes finger at 
her) intriguing with Fate as ever 



128 KARMA 

JLucia 
(Quickly.) No, not intriguing. I am 
but your wife — and model. {Laughs.) 

Paulo 
And inspiration 

LnuAa 
And critic 

Paulo 
And manager ! That is the wonder — that 
you who fled with a painter to learn poverty 
like this (shows hare room) and this (shows 
clothes) and this (touches heart) should bar- 
gain so cleverly in the market-place and 
carry home our fish and vegetables in your 
coloured apron — the Lady Lucia, a house- 
wife of the people! 

Lucia 
Forgetting the wine as usual, and drop- 
ping half the fish on my way! (Seriously.) 
Love makes it beautiful. It is for love's 
sake, Paulo. 



KARMA 129 

Paulo 
(Emphatically.) And the work's sake. 

Lucia 
(QuicMp.) The work, ah yes, the work's 
sake. (Eaccitedly.) Oh, my Paulo, what 
would I not do — what would I not sacrifice 
for your advancement — I mean, for your 
art, your wonderful great art. {Confused.) 

Paulo 
(Quietly.) This shall be our love's first- 
fruits (pointing to canvas). 

Lucia 
(Repeats low to herself.) Our love's first- 
fruits. 

Paulo 

(Rapt.) When you and I float over the 
lagoons as dust upon the wind — (turns to 
her from picture, and lowers voice) when 
you and I are gone — remembered, perhaps, 
only as Paulo the painter, and Lucia his 



130 KARMA 

inspiration— this beauty — ah, that is my 
dream — this beauty shall still shine out for 
the world, 

[They watch the picture for a moment. 

Lucia 
I fear one thing only for you — poverty. 
You should have everything. 

Pavio 
I have. Everything that matters to an 
artist, and its name is inspiration. 

[Looks with passionate admiration at 
her, 

Lucia 
{With growing agitation.) You left 
Florence for my sake. But for me, the 
great Princes — {with an effort) the Medici 
— would have helped. 

Paulo 
{Brusquely.) We agreed — {pretended 
severity) — solemnly, you remember — never 



KARMA 131 

to mention your princely lover's name. 
Nothing stops good painting like jealousy, 
and at that name I see blood. 

Lucia 
(Smiling.) Our Palace is too poor to 
house even that thin ghost. You have no 
need to think of jealousy. 

Paulo 
No need now, Lucia. In Venice we are 
safe from Damiano di Medici. Now, will 
you sit for me? I burn to work. Come! 
You must have roses in your hands. I will 
go to the flower-sellers by the bridge. 

Lucia 
I would have brought them with me from 
the ■ market-place — one scudi each ! I hesi- 
tated 

Paido 

And bought ten sprats instead ! My won- 
derful, clever house-wife. Without sprats 
to eat I never could paint roses ! But I must 



132 KARMA 

have them. I shall be but a moment away, 
my love — a single moment {throwing kisses 
from the door) that will seem like years! 
Farewell. . .Little Child. 



Lucia 

Little Child! Ah, how I love that name, 
given to me with our first kiss. I love it 
better than my own. (Thinks a moment, 
puzzled.) For somehow it seems my very 
own 

Paulo 

It is your own. The little love-name that 
seems to travel like memory up the ages. I 
shall be back as soon as you are ready. [Eant 
[Knocking at the door startles her. 
(Enter Damiano di Medici.) 

Lu<ia 

You! And so soon. It is too soon. I've 
had no time to prepare him yet 



KARMA 133 

Medici 
A painter receives his patron without 
preparation surely 

Lucia 
Patron! You must not use that word to 
him, or all is ruined before it is even begun. 
You must remember 

Medici 
{Bows ironically.) "Must" to me! And 
"must" again! My gracious Lady Lucia 

forgets 

Lucia 
Nothing. She remembers that her hus- 
band, first of all, is proud, as I have already 
warned you. He does not yet know that I 
have been to see you — you, of all men in the 
world. 

Me^ci 
(Frowning.) When you say "proud" 
you mean, I take it, jealous. 



134 KARMA 

Lucia 
I mean both. {Manner changing.) Oh, 
Prince, you promised — I have your word 
that you would be guided in this by me. 

Medici 
{Unbending,) I was in haste to see the 

picture 

Ijucia 

But too great haste 



Medici 
{Ignoring her interruption.) For he is, 
I swear truly, the man I need — his work, 
that is to say. {Threateningly.) As once, 
my Lady, you were the woman that I need- 
ed. But needs do not last for ever, nor is 
any indispensable — perhaps. 

Lucia 
{More control.) Oh, give me time. 
Prince, please. You do not want to lose 
him. I have your word and trust it. {Anw- 



KARMA 135 

iously.) Will you not take your gondola to 
the islands — the sun is sweet upon the water 
— and return in half an hour? I — by that 
time I 

Medici 

The light is sweet upon your face as well. 
What do you offer me in return for so gi-eat 
a favour? 

Lduda 
I am the wife of Paulo Salviati. 

Medici 

And have, as I see, married poverty as 
well as genius! I was too slow for once, as 
now, it seems, I am too hasty. I should 
have asked — and taken — all before this fel- 
low 

LvHa 

(Scorn.) Poverty with Salviati is beauty 
for eternity. The wealth of a Florentine 
princess belongs to timie. 



136 KARMA 

Medici 

And, therefore, you come humbly to ask 
me SL favour, 

Lucia 

One it should be an honour for you to 
grant (tvith earnest persuasion) — that you 
may share in giving eternal beauty to the 
world. Had I asked the Collona or the 
Calviere to see the work of a great painter 
whom poverty 

Medici 
You came, instead, to me. 

Lucia 

You have bought the palace on the Grand 
Canal and need a great — ^the greatest — 
painter for your ceiling 

Medici 
Enthusiasm becomes you. You look di- 
vine with that passion in your eyes. 



KARMA 137 

JLucia 
(Cunningly.) I am his model too, you 
see. 

Medici 

And that dehcious gesture. {Steps near- 
er.) A little more fire, a touch more of 
abandon, and I swear that — on certain con- 
ditions — oh, very small ones! — I would 
grant everything you ask. 

Lucia 

(Icily.) An hour ago, when we talked 
together, you passed me your word. I ap- 
pealed to you as lover of the beautiful — the 
best, the noblest in you. I was, it seems, 
mistaken, and our interview now had bet- 
ter end. (Moves to window.) I wi^l call 
my husband. 

Medici 

This change from fire to ice is exquisite! 
(Admiringly.) But why so proud, fair 
Lady Lucia? (She stands listening.) You 
hear him coming? (She hears the water lap- 



138 KARMA 

ping. Hides her face a moment.) It is 
only the waves. The tide is rising still. 
That's all. 

Liieia 
(Distraught.) Yes, rising, rising. Please 
leave me, Prince. No, no — please stay — a 
moment longer. (Frightened.) Forgive 
me. Something — a vision — flashed upon me 
out of darkness. I am confused. I fear. 
(To herself.) Oh, I have done this very 
thing before 

Medici 
But not with me, alas! 

Lucia 
(Goes to Ms side.) Forgive me. I thought 
only of myself. For a moment I forgot the 
work, the beauty that is his divine, his holy 
mission. Now I'm myself again. The water, 
the rising water — somehow — in some 
strange way — reminds me. Oh, I will be 
wise and loving in the noblest way. Looks 



KARMA 139 

into his eyes. Imploringly.) It is his need, 
his poverty, that drive me to ask a favour 
of you who once aspired to be my lover. 
Have you no pity? We fled from Florence 
to escape you — it is true. I would rather 

ask favours of any in the world but you 

( Confused. ) 

Medici 

And yet — (To himself.) And you are 
his model. You could live for ever on my 
ceiling! {To her.) You are, indeed, a God- 
dess belonging to eternity! (Admiringly.) 

Lucia 
And yet — yes, I came to you an hour ago 
— as patron. It is true. It was for his 
sake and for his great art I came. (Voice 
singing outside.) Oh, I ask no favour now 
more than a little time to talk with him. 
That is his voice. I will persuade him. I 
will gain his consent, and he will do the pic- 
ture for you — for your palace. Leave me, 
I beg, a few moments with him alone, and 



140 KARMA 

then return — to find — I promise it — the 
greatest painter in all Italy 

Medici 
In all the world. 

Lucia 
Prepared to give you of his best. 

^Clasps her hands and stares into his 

face. 

Medici 

To have you in my palace so (admiring- 
ly) is, perhaps, the next best thing to — have 

you in my 

Lucia 

Oh, I implore you. Leave me with him. 
(Singing comes very close.) I promise. 

Medici 
(Shrugging.) You have chosen the one 
spell tliat moves me. Even more strong 
than the love of a fair woman is my love 
of art — its wonder, its beauty, and its tri- 
umph. His picture will outlive even your 



KARMA 141 

loveliness. (Sighs.) My name and my 
great palace will remind a later world of 
me, and of what I did for beauty. Well, 
well, my Lady Lucia, you win me over — 
for the mement, at any rate. I will stand 
behind this screen and listen. I must hear 
how you persuade genius to abjure its prin- 
ciples ! 

Lucia 
(Firmly.) Then I do nothing. You must 
first go. 

Medici 
Another "must." Your self-will is ador- 
able. Upon my word! But I, too, have a 
"must" — his work, with yourself as model, 
on my palace ceiling! (Yields with a sar- 
castic bow.) [Eooit. 
[Lucia mounts the model's throne and 
stands, arranging her drapery, as 
Paulo enters. 

Paulo 
(Breathless; carries roses.) Only two! 
They were so dear. I have not your skill 



142 KARMA 

in bargains. (Holds out roses.) We must 
make them do. (Kisses her.) Have I been 
very long? I had to go nearly to the Zucca. 

Lucia 
Two roses added to our love makes a 
whole garden. And one day soon you shall 
lack nothing the work needs. (Tenderly.) 
Oh, Paulo, beloved, by rights everything 
should be yours now. There is not a painter 
in Italy who comes near you. 

Paulo 
(Quietly.) I shall win the Competition. 
We shall have plenty then. 

Liuia 
(Lower.) Your art needs it now. (Sighs.) 
I am so useless to you — and yet 

Paulo 
(Looking.) And yet — ? Lucia, this 
anxiety, this nervousness is strange to you. 



KARMA 143 

You use unaccustomed words. "Useless"! 
What can you mean? 

Luda 
You would never be angry — you would 
not scold me, no matter what I might do — 
for your work's sake? 

Paulo 
(Passionately.) You have such darling 
moods. I love you. The work is ours, not 
mine. (Caresses her.) I understand so 
well. It is your love that makes you trem- 
ble for the work's sake: the picture grows, 
the Competition Day comes nearer. It's like 
the sea-tides rising — it affects you — I under- 
stand ! 

Lucia 
Yes, yes. You always know. You're al- 
ways right. An inner tide seems rising in 
me as the time draws near. You under- 
stand my woman's moods, and so forgive 
them. 



144 KARMA 

Paulo 

{Painting.) Picture the scene, as we used 
to do when scudi were very scarce. It al- 
ways makes us happy — the brilliant fore- 
cast. 

Lucia 



Tell me again. I love to hear it all. 



Paulo 

The judging will be in the Council Hall 
where the Doge holds high state, crowded 
with the noblest and loveliest of all Venice. 
The pictures chosen for the final verdict — 
that's Vernio's and Marco Gagliano's, and 
mine — I mean ours — of course — will stand 
apart on easels. And on a pillar in front 
of them shines the jev/elled casket with the 
thousand gold pieces that Venice bestows — 
a mere trifle — upon him she decrees the 
greatest artist 



KARMA 145 

Lucia 

And the pillar is garlanded with roses — 
more than these two, but not more lovely, 
Paulo. 

Paulo 

Of course. And the competitors waiting 
in a hungiy, anxious group 

ILuda 

You won't be hungry. I'll have so many 
sprats the night before 

Paulo 
I shan't be anxious either. 

Lucia 

{Happier.) You will be dressed in a 
new doublet of purple cloth. If we can buy 
no golden thread for the embroidery I shall 
weave this across it. (Holds out her hair.) 
You'll look magnificent 



146 KARMA 

Paulo 
The picture 



JLucia 
Still more magnificent. They won't know 
which to look at 

Paulo 
{Merry.) Then they'U squint. 

Lucia 

The judge will call aloud your name: 
Paulo Salviati. You will be victor, and all 
the Assembly will rise to honour you 

Paulo 
(Correcting her again,) The work. My 
art, not me. My art, my work — — 

[Lucia stands up to show the judge's 
gestures. She hears the water lap- 
ping. Her face changes. 
What is it, Little Child? 



KARMA 147 

Lucia 

N — nothing, Paulo. I — I merely thought 
a moment of those other painters, of Vernio, 
of Gagliano, the favoured ones who have 
wealthy patrons, so that they can work in 
ease and comfort, lacking nothing 

Paulo 

( Grandly. ) Except my inspiration — and 
my liberty. Think what that means. My 
work is done in freedom, and must surpass 
their best since it is bought of luxury. 
{Earnest and contemptuous.) What artist, 
no matter his genius, that can see truth while 
a patron jogs his brush, bidding him do this 
and that, set here a touch of gold and there of 
scarlet, put here a flower, a bird, and there a 
— a {explodes) — a sprat — ! Why not? It 
is the soul alone that sees truth, and such 
men have sold their souls. They will be paid 
accordingly. 



14o KARMA 

Lucia 
(Agitated.) There are some patrons who 
— it is said — give freedom, liberty too. 

Paulo 
I never heard their names. 

Lucia 
There are some who know, who under- 
stand better. {Confused aiid rapidly.) 
They say the JMedicis 

Paulo 
(Stops painting.) Such painters and 
their patrons live for time, not for eternity, 
my Little Child. And among them the 
worst — the very worst — is that Florentine 
whose best claim to merit is that he dared 
to aspire to your love. 

Lucia 
I hate and despise him. Yet I dread his 
help — for others. lie is as great in influence 
almost as his elder brother, Cosimo. 



KARMA 149 

Paulo 



Bah! 



L/iicia 
Forgive me, Paulo — I reproach myself 
often that we fled from him — from Florence 
— where he might — (lower) oh, he could 
have done so much for you — his patronage. 

Paulo 
{Staring.) The mere name, as you see, 
stops me painting. You must not speak of 
it, here least of all in our place of work, of 
worship. Patronage — bah! My fire would 
go out, my inspiration leave me, my soul 
die in bondage. I must have (loudly) lib- 
erty. 

Lucia 

(Frightened.) The Madonna help me! 
Paulo, beloved, see what I have brought you 
— something your picture needs. My pres- 
ent and my surprise. Xo questions, now ! 

[Holds out richly-coloured silk. 



150 KARMA 

Paulo 
(Delighted, amazed.) That very broidery 
we saw together! Lucia — Little Child! 
How did you pay for it, or — or did you steal 
it? The merchant asked ten lira, I remem- 
ber — and we had but three. {Ecvamines it.) 
The colour of wine and pomegranate! Gor- 
geous! How did you pay for it? Quick, 
tell me. ( Lucia turns her head from side to 
side. ) The long gold earrings ! Your last 
jewel! Lucia! {Takes her in his arms.) 
I'll kiss your ears (softly) till they leave 
blushes you cannot sell, fairer than any 
jewels, for they are the kisses of my soul 
which sees eternal beauty. 

Lucia 
Would that I had a whole casket of both 
kinds, my Paulo! Of one kind I would sell 
all. You should have a studio with north 
light, the best paints that can be bought, 
the choicest hangings, the fairest models, 
and — and, oh, everything these others pos- 



KARMA 151 

sess who have not risked all for Love and 

brought a wife from Florence {Voice 

breaks and stops. ) 

Paulo 
Hush, hush, Little Child! You have 
given all you had — and that is everything. 
My art, if it is inspired as we dream, is 
stronger than circumstances, and will con- 
quer. And I have liberty — love, beauty, 
liberty! What more can I ask of Heaven? 
Come, see the picture with me a moment. 
{Draws her to it.) Let us look at it to- 
gether. {They stand before it.) 

Lucia 
{Low.) The Gods painted it. 

Paulo 
{Moved.) Your soul and mine, say 
rather. The hand is nothing. It is the in- 
spiration. {They look a moment.) It was 
conceived, at least, in liberty — {Starts and 
looks at her.) You whispered something? 



152 KARMA 

I did not catch it. Tell me, Little Child. 
You feel — ? Why, I declare, you tremble. 

Lucia 

( Very low. ) One thing, I fear, one thing 
alone! The golden bloom, the warmth, the 
joyous laughter and the richness all Vene- 
tians love. It will be judged with the work 
of — of others whom plenty and comfort and 
— and all that help which money can pro- 
vide 

Pafulo 

Men who feed from their patron's hands 
like obedient lap-dogs 

Lucia 

Madonna, help me! They have never to 

calculate if their blue paint can last till the 

sky is finished. {Impetuously.) Why, in 

Florence, the Medici gives his painters 

Paulo 
That name aojain! 



KARMA 153 

Lticia 
I chose it at random — by mistake. It 
slipped out, I mean. {Losing control 
more. ) Oh, my too proud Paulo, if you only 
knew how I love your pride and wor- 
ship it. I only thought — for a moment only 
— the merest foolish moment — that this 
young Medici — oh, he loves beauty too, he 
worships art and beauty — perhaps — I won- 
dered — he might have helped in a way that 
even you could have accepted without losing 
your liberty. I reproach myself so 

Pernio 

(Sternly.) Lucia, I need no man's help. 
I have told you. You doubt my art, my 
power, when you show this fear. It is fear 
that makes you reproach yourself. Our love 
knows no fear. (Soothes her.) 

Lucia 
It is, perhaps, myself I fear, Paulo. A 
strange dread haunts me like a dream. I 



154 KARMA 

fear lest I injure your great work, your mis- 
sion 

Paulo 

You tremble still. You are excited. Tell 
me, Little Child — do you know something 
that you hide from me — that you cannot 

tell me? 

[Pause, 
Lucia 

Nothing, nothing, but my woman's mood. 
My passion to help you is so great I some- 
times fear lest I guide it wrongly — [breaks 
off) . See, Paulo, the light is good, and we 
have this broidery you need (replaces old 
drapery with the new silk piece) — the very 
thing — exactly the tint and texture. I'll sit 
for you. (Shows hurry.) There is no time 
to lose. Some one might disturb us. 

Paulo 

(A look of suspicion comes and goes. He 
watches her puzzled, while mixing his 
paints.) Your mood is new. That is what 



KARMA 155 

disquiets me. You seem expectant almost. 
And this strange haste, Lucia? We never 
hurry! 

Lucia 

(Laughing gaily.) Only that I long to 
see this colour {touches silk) in your picture 
— on the very canvas, alive and burning — 
before it is seen by — by others. 

Paulo 
(Absorbed.) Yet who should see it be- 
fore the Competition Day? 

Lucia 
Of course, of course. Still I am anxious. 
Time is precious. (Poses.) Oh, how lovely 
the silk lies on me ! Look ! And am I right ? 
( Whispers. ) Paulo, I feel your brushes on 
my heart. Paint swiftly, beloved, swiftly. 

Paulo 
Beautiful! Perfect! Divine! There — 
just as you are now. Don't move! Even 
your heart must stop ! 



156 KARMA 

Lucia 
Madonna, help me! 

Pernio 

She does. Have no fear for the result. 
{Paints hard,) Now, talk to me while I 
work — no movement, mind ! Just words. I 
love the music of your voice. It soothes and 
blesses me. The gossip of the market-place, 
for instance? 

Lucia 

(Quickly.) Ah, well, then the Eros will 
interest you — the one we coveted so. . . . 
It's gone from the merchant's booth at last. 

Paulo 
Our Grecian Eros! Our little statue! I 
shall miss it. I wonder who bought it. Or 
has it flown back to Samos, starved with 
yearning, on our summer wind? Some day 
we'll follow it. Greece! Glorious mother 
of artists ! My heart lies there — sometimes, 
I almost think, my memory too. (Pause.) 



KARMA 157 

Who bought our Eros? Did you hear that 
as well? 

Lucia 

The critics say that in your art Greece 
has come back to life again. 

Paulo 

Who bought it, Lucia? Your head to 
the right a little — so. 

Lucia 

A great Prince, a stranger to Venice, they 
said, who has bought the Cavaliere Palazzo 
on the Grand Canal. Gossip is full of it. 
He has sworn to make it more beautiful 
than Cosimo Medici's in Florence 

Paulo 

That odious name again! (Smiling.) It 
haunts you, Little Child! (She starts.) 
Don't move! don't move! The pose is per- 
fect. 



158 KARMA 

Lucia 
Haunts the gossip of the town, rather — 
for which you asked me, Signor! The ceil- 
ings are to be painted with classical scenes 
alone — the loves of Apollo, and Athena's 
triumph. 

Paulo 
What siibjects! And I know that 
Palazzo. Its ceilings are superb, enormous! 
Painting the very sky! {Steps back to ex- 
amine his work.) It's coming, it's coming, 
the very colour I wanted. Yes, yes, they are 
the biggest in all Venice, so I'm told. {Turns 
to her.) Now, just suppose, Lucia — just 
suppose that one day 

Lucia 

{Nervous.) Paulo, beloved, do not stop. 

Paint on quickly. You are in your best 

vein. Paint on before — before the light 

changes. Yes, and I heard one other thing. 

Paulo 
{Painting.) Ah! 



KARMA 159 

Lucia 
That this Prince will commission the win- 
ner of the Competition 

Paulo 
{Looking up.) To paint those ceilings! 
Not unlikely, Lucia! There are menial 
fellows enough with talent who would do it. 
I — win or lose — I accept no commission 
tainted by patronage. And I shall win. 
What was this Prince's name? 

Luda 
(Excited.) And those ceilings might be 

yours ! 

Paulo 
Who is he? 

Lucia 
S — some said one thing, some another. 

I 

Paulo 
The merchant must have delivered his 
Eros — to somebody — somewhere. 

[ Watches her. 



160 KARMA 

Lucia 

He didn't say. I didn't ask him. It was 
the gondolier as I came home. Oh, Paulo, I 
cannot sit well for you if you cross-question 
me like this! You're like a judge. I love 

you so. Why should you suspect ? 

[Rises agitated. 

Paulo 

Suspect! You! Clear water cannot hide 
the reflections in it. (E oppression of com- 
prehension dawns on his face. ) Even if your 
love guided you amiss, I — I could never 
think, and far less use — that ugly word! 

Lucia! Little Child! You tremble 

(Starts forward.) 

[Enter Old Woman, flustered. 
Lucia's hand flies to her heart. 

Woman 

Signor! Signora! A gi-eat gentleman 
comes for you. His gondola is already at 



KARMA 161 

the steps. I heard him give orders to wait. 
I ran on to warn you. 

Lucia 
(Cry.) Already I 

Paulo 

(Half incredulous still.) Great gentle- 
man! (Looking at Lucia.) Asking for — 
us! [Lucia silent, face in hands. 

Woman 

He is no Venetian. By his liveries he 
must be a Prince at least, and a great one. 
Your dress, Signora! (Arranges it.) He's 
come to buy the Signor's pictures! Your 
fortune's made. Oh, happy day! I will 
open the gate for him, so he will not know 
you have no servant. [Eait. 

Paulo 
(Grim.) I do not understand. (Makes 
to fasten door, hesitates, then turns to 



162 KARMA 

Lucia.) You can explain this to me — 
Little Child — perhaps? 

Lucia 

Paulo, Paulo, do not be angry. Oh, for- 
give me, I implore. For your dear sake — 
for your work, your art — for you, I did it. 
It is not me he comes to see. It is your work, 
your picture. I went this very day — but an 
hour ago — to make him come. Oh, tell me, 
tell me I have not done wrong! 

(Old Woman opens door. Enter 
Medici.) 

Paulo 
{Aghast.) Damiano di Medici! Here! 

Lucia 
( Hand on his arm. ) Paulo ! Paulo ! 

Medici 

At your service, Signor Salviati. {To 
Lucia.) Signora bellissima! Am. I too 



KARMA 163 

early still? My promise — you remember — 
I was impatient to fulfil it. 

Paulo 
Promise! What can a Prince of the 
Medici promise to my wife? 

Medici 
( Gravely. ) That which only the proudest 
painter may receive gladly from a humble 
prince: appreciation of his work. 

Paulo 
(Coldly.) My work is not done for the 
appreciation of princes. I have no work to 
show. 

Medici 
Your wife, Signor, said otherwise. And 
she is a rare judge of values. (Bows.) A 
faultless critic! (Bows to her.) 

Paulo 
The Prince di Medici knows. 



164. KARMA 

Lucia 
{To Paulo.) Oh, do not anger him. And 
think a little of me. You forget the risk — ■ 
for your sake — that I ran — (imploring) 

your career 

Paulo 
{Watches her thoughtfully, weighing 
things that perplex him.) Love led you a 
strange errand. 

Lucia 
For the work's sake, my Paulo. 

Medici 

The Medici have short memories for their 

failures. {Laughs.) Her courage — in 

coming to visit me — was even more rare than 

her {glances at the picture) — her judgment. 

Paulo 
{With effort.) She went to see you — 
yes. It was a mistaken courage that earned 
you a favour of that kind. 



KARMA 165 

Medici 
(Suave.) Even in Venice a Medici does 
not receive strangers— without a name — or, 
shall I say, whose name is yet to win. Your 
wife, Signor, had the courage to get her 
way to me past half a hundred lacqueys. 
But more! She had the eloquence and wit 
to persuade my return visit — here. She 
assured me your picture was worthy of my 
personal, my immediate inspection. 

[Goes to it. Paulo starts forward to 
prevent him. 

Lucia 
{Catches his arm.) Paulo, beloved — by 
our love, by little Eros (frantic), by every- 
thing ! 

[Medici moves the picture into better 
light. 

Medici 

( Watching them out of corner of his eye. ) 
With your permission. (Bows.) You will, 



166 KARMA 

perhaps, forgive the liberty. The hght fails 
suddenly a little. So — {examines critically, 
with signs of pleasure). 

Paulo 
(Back turned.) For your sake, Little 
Child, I endure this cruelty. 

Lucia 
I yearned to help 

Paulo 
So it was he who bought the Eros too? 
(To himself.) This is an evil omen, (To 
her.) I thought us safe in Venice. 

Lucia 
You are so calm, so quiet. You terrify. 
I would fear your anger less. Oh, my great 
Paulo, my dear, listen to me one moment. 
This family — this man — vile though he be — 
loves art and beauty, and in so far is not — 
Oh, I mean — oh, Paulo, it is his ceilings, 
his palace, his help to your career that have 



KARMA 167 

betrayed me! You could bring Greece to 
life in Venice — and for ever. Think not of 
him. Think only of your beauty — lighting 
the world when he is dust 

Paulo 
(Quietly.) Is my art so poor a thing — 
have you so misunderstood it — that you 
think it is for sale? 

Luda 
{Distraught.) Have I done that! 
[Medici turns from the picture to 
Paulo. 

Medici 
(With reverence.) You have been 
taught of the Gods — the Gods of Greece. 



Paulo 
{Frigidly.) Your praise- 



Lucia 
Hush, oh, I beg you — for my sake. 



168 KARMA 

Medici 
The drawing is the equal of del Sarto*s 
and the composition no poorer than da 
Vinci's. I swear it. Yet — the colour — 
hmm — I miss Titian's glory. Those shad- 
ows (pointing) are out of tone a little 

Lucia 
( Quickly. ) We ran out of blue that day, 

alas 

Medici 

Your model was, certainly, perfect. But 
why have you painted the n^inphs from her 
as well as their divine mistress? 

Lucia 
Models demand impossible prices 



[Paulo puts his hand on her mouth 
angrily. 

Medici 
(Reflecting.) So little more, and it were 
a masterpiece. Even now it should win the 



KARMA 169 

Competition, by rights. Yet Vernio's is just 
a shade more rich, more splendid. I have 
seen it. And Gagliano has a purer colour. 
But then, of course, Gagliano buys his paint 
from that fellow by the Zucca who has a 
secret method — and charges accordingly, 
the scoundrel! 

Paulo 
{Unable to contain himself longer.) I 
paint as I desire, and as I can. The picture 
is mine. And not for sale! 

Medici 
{Kindly.) I admire your spirit, Signor. 
It has the independence of ancient Greece 
herself. Yet at what price? You may be 
satisfied with yourself, but your art thereby 
suffers. It becomes a slave of your condi- 
tions — if you will allow the language. 

L<ucia 
Oh, it must be so! Paulo, it must be so! 
You see? 



170 KARMA 

Paulo 

(Proudly.) Conditions that leave the 
spirit free, at least. The spirit of beauty 
owns no master * 

Medici 

The husband of such beauty should be 
more gracious. (Frankly.) Ah, Salviati, 
you speak to a Medici, indeed, but also to 
one who loves beauty as you yourself do. 
I might — had I persisted — have taken your 
golden bird in my own net. (Pauses.) It 
is my pleasure now to set you free from the 
hard conditions that enslave you. In this 
way can a Medici reward good for evil. Sig- 
nor, I forgive all for the sake of your genius. 
I admire your picture — its true classic spirit. 
Yet it has not quite the warmth, the fire, the 
bounteous splendour we Italians ask. Give 
but your sky a deeper hue, add to that robe 
the undertone of scarlet it needs to make it 
felt, flood our prodigal Italian sunshine over 



KARMA 171 

it all — a»d I will buy your picture at your 
price. 

Liicia 

Yes, yes. Oh, Paulo, what an offer! 
Think! 

Paulo 

It is not for sale. 

Medici 
While you may still enter it for the Com- 
petition. The judges — er — may hear that 
Damiano di Medici has bought it for his 
new Palazzo — and — j udge — accordingly. 

Paulo 
(Low.) The gold, the blue, the scarlet 
you desire — I mean, suggest — are not in my 
scheme. 

Medici 

Yet they would add the perfect touch 
now lacking — in my judgment, Signor. 
Come, now, I will go further. I have sworn 
that my Palazzo shall surpass even that of 
Cosimo, my ambitious brother, in Florence. 



172 KARMA 

I will have a Gorgione for his Lippo Lippi, 
and — if you will — a Salviati for his da 
Vinci. I offer you, further, the painting of 
my ceilings, Signor — seven years' inspired 
and happy labour. 

Paulc 

Seven years of bondage to another's taste 
and purse. 

Lucia 

{To Paulo.) You could do your own 
work too. [Looking at Medici. 



Why not? 



Medici 



Paulo 



To add this gold and blue and scarlet is 
■ — for me — a lie. 

Lucia 

Oh, my beloved, think, think a little, and 
weigh your words! 



KARMA 173 

Medici 
My offer stands — but not against unrea- 
sonable resistance. I repeat it: this picture 
at your figure, and seven years to paint the 
ceihngs, with a certain freedom in design 
and subject, and permission to do your own 
work in your leisure. It is a matter to con- 
clude now quickly. ( Ominously. ) It is not 
amusing, though it may be novel, for a 
Medici to be thwarted of his will — his deep 
design. (Bows.) 

Paulo 
A poor painter dares the novelty. 

Lucia 
(Cries.) You forget everything, Paulo 
— me you forget even — when you say such 
words! 

Medici 
(Impatient, half -threatening.) Beauty 
has turned yo^r head, maybe. Excess, I 
have heard it said, (significantly) can affect 



174 KARMA 

the reason. You have {glancing towards 
Lucia) too much beauty. But there are 

remedies 

Paulo 
(Startled.) I do not understand you. 

3Iedici 
As a great patron, I have my duties too. 
(Slowly.) If the possession of too much 
beauty threaten your great gift, I owe it to 
the world to (sinister tone and look) help — 
to save you. 

Paulo 
(Facing Mm.) I prefer plain spoken lan- 
guage from a man — even though he be 
patron. 

Lucia 
Oh, guard your tongue at least! The 
Prince is patient with us. 

3Iedici 
(Softly.) You robbed me once of beauty 
I desired. You fled from Florence. I ac- 



KARMA 175 

cepted with a smile, and did not bestir my- 
self to follow and prevent — as I could well 
have done. I was too kind, perhaps 

Lucia 
{Breaks in.) But, great Prince, you — 
you have forgotten all that. You swore 

Medici 
(To her.) The sight of beauty stirs my 
memory again. {Suggestively.) For beau- 
ty grows, it seems. {Smiles admiringly.) 
[He moves a little towards her. Paulo, 
with clenched hands, is held hack 
by Lucia. 

JLucia 
{ To Medici. ) My Lord ! ( To Paulo. ) 
Oh, Paulo, hold yourself! Am I so little 
to you? 

Medici 

And this increase of beauty makes me 
remember something I had — {to Lucia) as 
you say — forgotten. To see him who robbed 



176 KARMA 

me become my dependant — would ha^^e the 
true Grecian touch of comedy. {Turns ab- 
ruptly to Paulo with changed tone.) Sal- 
viati — before the hght fails, will you now 
dip your brush in the gold and scarlet we 
suggested ? 

Paulo 

Never! Even in fading light I see only 
truth. 

Luda 
Ah! Oh! 

Medici 

(Looking from one to the other, then to 
the picture.) There are many flowers in 
my gardens, but Italy holds one Salviati 
only. {Reflects.) My ceilings need him. I 
swore, besides, to Cosimo 

Lucia 
{Distraught.) My Lord, my Lord, you 

promised ! 

Medici 

{Brusquely.) That I would see the work 
and offer my patronage — if it pleased me. 



KARMA 177 

That offer still holds good. But your hus- 
band is obstinate 

Paulo 
I am true. I claim only liberty. 

3Iedici 
(Darkly.) So I must remember my du- 
ties as a patron — and apply remedies that 
may save his unreason — and his — art. 

LiLcia 

{Alarmed.) What can you mean ? 

[Medici claps Ms hands. 

Medici 
Ho! Ho! Without there! (Foi^r Men 
in livery rush in.) Take the woman, but 
do not hurt her. [Men seize her. 

Luda 
(Struggling.) Ah, Dios! Madonna, 
help me! Alive — never! Paulo! Paulo! 



178 KARMA 

Paulo 

(Tries to fjght his way to Tier.) Never 
while I live either. [^Draws a dagger. 

Medici 

( To Men. ) Disarm him — gently, gently. 
No injury. Who bruises that right hand of 
his answers with his life, remember! Strike 
up the dagger instantly. 

Men 

(Struggling.) For a painter he fights 
well. 

Careful there! His hand — your sword's 
point ! 

His right hand, yes. Be wary. 

This is rare sport. 

Have you got the arm? Hold fast. 

I've got the dagger. 

He's safe, my Lord. 

[They hold him, disarmed 



KARMA 179 

Lucia 
(Held.) Paulo, my Paulo! (Monm.) 
Oh, that I were dead, to have done this 
thing I 

Paulo 
(Firmly.) My soul stands by yours. I 
know you true. Fear nothing! 

Medici 
(Quietly.) Signor Salviati, I regret that 
my sense of duty — my deep desire that you 
shall achieve your greatest — force me to this 
unpleasant remedy. But poverty is not 
helpful to your work, and I must — as patron 
of unreasonable genius — protect your art 
and yourself. I offer, therefore, the best 
help in my power. If you accept — then I 
need take nothing (glancing at Lucia) 
from your store of beauty. 

Pauh 
Dios! This cruelty — this treachery! 



180 KARMA 

Lucia 
No, no, no. Paulo, do not think of 
me 

Paulo 
It is too late. {To Medici^ with effort.) 
Your vile scheme means this, then: that I 
submit my art to your paid dictation, become 
your creature, or you will — (struggles vio- 
lently). Let me free! (to Men). This 
bastard is not fit to live. 

A Man 
Hush! He is a Medici — Cosimo's own 
brother. 

Medici 
My gondola waits. My new Palazzo lies 
but half an hour distant — ready to welcome 
its first fair ornament. 

Paulo 
( Wild. ) To be broken and thrown away 
when done with! Death is better now. 



KARMA 181 

[Tries to injure his right hand against 
a sword. 

Medici 
{To ]\Ien.) Careful. Hold him. Or 

your lives 

Lucia 

{Frantic.) Beloved, it is not too late. 
Forget that I live — oh, forget me — for your 
work's sake! Remember beauty only 

Paulo 
{Tender patience.) Little Child! My 
work and beauty live with liberty. {Very 
softly.) Had you forgotten? Did belief 
in me waver, or did love guide you strangely 
— misconceiving ? 

Medici 
{Impatient.) The light fails rapidly. 
The gold and scarlet should be laid on now, 
before dusk falls. {To Men.) One of you 
go and prepare my gondola — for a lady. 
(Man goes to door.) Lay a soft silken 



182 KARMA 

scarf upon the cushion — there must be no 
screams in Venice. {To Paulo.) Oh, 1 
will do it gently, Signor, with my own two 
hands. There shall be no roughness, no 
unkindness. (Man gives scarf.) Oh, here 
is the very thing. {Goes towards Lucia.) 
You will take this small attention from me, 
I beg, if nothing else. 

Lucia 
I hate you! Your touch is poison. 

\_Struggles. 
Medici 
You should not ask favours, then, of those 
who poison you. {Puts scarf round her 
arms.) For the mouth I have a yet softer 
silk, as you shall see. Ah, the Medici, they 
say, are fortunate in love, and I shall find 
a way to win you. These arms I am forced 
to bind shall yet twine willingly about my 

neck 

Paulo 
{Shouts.) All I possess to him who kills 
him ! 



KARMA 183 

Medici 
All you possess! 

Paulo 
(Yields.) And more — my liberty. Let 
her go! 

Medici 

So reason returns, at last. The remedy 
works already towards a cure. 

Paulo 
Set her free. I give my word. 

Medici 
Though I trust no man, I trust your 
word, Salviati. 

Paulo 

{Stammering.) Unfasten me. Give me 
my palette. 

Medici 

(To Men.) Release him. Release the 
lady too. But watch him closely, lest he 
hide a weapon. 



184 KARMA 

Paulo 
(Free.) This is my only weapon {takes 
brushes, etc.). With it I put chains upon 
my soul. So — and so. 

[Dabs on paint. Lucia silent. Col- 
lapses to her knees and hides her 
face. 

Medici 
Improved already! So swiftly! You are, 
indeed, the greatest of them all. We shall 
beat Verio out of court, and Gagliiino will 
die of envy on the spot. (To Men.) Be- 
gone with you! No, stay a moment — take 
the picture with you and lay it carefully 
in the gondola. It shall be finished under 
my own eye — before the ceilings are begun. 
(Men obey.) Carefully! One smear and 
your lives are forfeit. {Turns to Lucia and 
raises her. ) You are not quick to thank me, 
Signora, yet I have fulfilled my promise to 
you. All that you begged of me is accom- 
plished. Henceforth Salviati, your husband, 
shall work in comfort and lack nothing. 



KARMA 185 

Lucia 
{Faint.) How — how could I have done 
this thing? What ancient deep perversity 
— what lack of faith — what hidden destiny 
in me? {To Paulo.) Paulo, look, look at 
me! {He keeps his back to her. Medici 
watches them quietly.) Hark! 

ISound of water lapping heard outside. 

Medici 
So you will not thank me — either one of 
you? No matter. I hke a little spirit. 
{Goes to door.) Carefully, now! The 
edges safe. No flick of dust, mind. 

[^Stands looking down steps, 

Lucia 
'{Low.) Hark! (To Paulo.) It is an- 
other sound I hear. {Whispers.) Paulo! 
It is water. {Stands listening intently to 
the lap of the sea. Distress increases. Passes 
hand over forehead, as if trying to remem- 
ber something.) The rising water! {She 



186 KARMA 

turns her head slowly to look at Paulo. He 
turns slowly too. Their eyes meet. Very 
low.) You hear? (Whispers.) That 
sound is in my soul. Paulo — 1 half remem- 
ber — something — that hides behind it, yet 
comes with it. (Goes up and clings to him.) 
I have done this thing before — destroyed 
you — with my selfish love. 

Paulo 
Hush, hush! 

Lu^ia 

You look so strangely at me. Your face 
changes. Dios! (Frantic.) Speak to me, 
beloved! If you cannot forgive — say that 
you understand. Oh, what is it in your 
eyes? (Fear.) [Dusk increases. 

Paulo 
(Tender whisper.) The night is coming 
— with her stars. In my eyes is only love. 
(Patiently.) There is nothing to forgive. 
(Embraces her for several moments. Then 
breaks suddenly away.) Where is the gold 



KARMA 187 

— the scarlet? {Bewildered. To Medici.) 
What is my Lord's desire? 

Liiicia 
(Screams.) Oh, I have killed — I have 
killed again. [Falls. 

Paulo 

{Catching her.) Little Child! 

3Iedici 
{Turning at the scream.) She is even \ 
more beautiful than I first thought. Well, 
well, the picture is mine at any rate, and 
she — {smiles) . A good evening's work. How 
dark it grows. And the rising tide is at the 
full. Ho! Without there! My gondola! 

[Ea:it. 
[Paulo and Lucia in each other s 
arms. ) 

curtain 



EPILOGUE 
PRESENT DAY 



CHARACTERS 

Phillip Lattin. 
Mrs. Lattin. 
The Doctor. 



EPILOGUE 

Scene — Same as Prologue. 
ViME — Present. 

(Mrs. Lattin opens her eyes slowly. The 
Doctor, near the bed, is seen making a ges- 
ture with his arms as if lowering a curtain. 
Mrs. Lattin shows bewilderment.) 

Mrs. Lattin 
(Dreamily.) Where am I? Florence. . . 
Greece, . .Egypt. . .where are they? I am 
back again. But who am I? 

Doctor 
You are your Past. 

Mrs. Lattin 
I slept? But yet I lived it. I understand 
at last. I have found life. 

191 



192 KARMA 

Doctor 
You cannot die, nor can you sleep. 

Mrs. Lattin 
But time . . . 

Doctor 

Is the body's measuring. 

[She looks roxmd the room, and finally 
into Ms face. He moves slowly 
backwards towards the door. 

Mrs. Lattin 
( Thinking. ) It was not a dream. I was 
in Greece with Phocion. . .with Paulo in 
Italy . . . with . . . Oh, it is too long ago, too 
far away. It's fading. (Eagerly.) Oh, I 
would not forget! 

Doctor 
The results lie in you. That is memory. 

Mrs. Lattin 
Each time I injured. . .thwarted the high- 
est in him by my selfish love. How small 



KARMA 198 

my love! Oh, tell me it is not now too 
late. . . . 

Doctor 

(By door.) There is no "too late." What 

he could do without was added to him. You 

have taught Menophis, Phoeion and Paulo 

to become . . . Phillip. [He begins to fade. 

Mrs. Lattin 
(Joyfully.) I understand at last, and I 
am healed. I delayed Menophis. I shall 
inspire Phillip. I shall go with him . . . back 
to . . . Egypt. Phoeion, Paulo, how happy 
they will be! 

Doctor 
(Almost invisible.) He is coming now. 
I leave you. 

Mrs. Lattin 
But he must see you too..^. 

Doctor 
(Invisible, only a voice heard.) He can- 
not. 



194 KARMA 

\_Door opens. Phillip enters quietly. 
He shows surprise at finding her 
sitting up. Her hands are stretched 
out towards the door where the 
Doctor has vanished. As he en- 
ters, the clock strikes the last three 
strokes of sias o'clock. 

Phillip 
You rang. I just slipped back to see 



Mrs. Lattin 
(Low.) Phocion. . .my faithful. . . 

Phillip 
Eh? Are you all right? I mustn't stay. 
Doctor Ogilvie will be here any minute. 

Mrs. Lattin 
(Low.) Paulo. . .my dear one. . .1 

Phillip 
(Puzzled.) You slept a moment prob- 
ably. Good! {Startled by her happy ex- 
pression.) You look. . .so much better! 



KARMA 195 

Mrs. Lattin 
He came. And I am healed. 

[Nurse enters hurriedly. 

Nurse 
{Whispering to Phillip so that Mrs. 
Lattin does not hear.) Dr. Ogilvie has 
just telephoned. He is detained. He can- 
not get here till seven o'clock. 

Phillip 
All right. Hush! [Ea^t Nurse. 

Mrs. Lattin 
He told me. . .showed me ... everything. 

Phillip 
(Humouring her.) He gave you hope — 
the best? I see it in your eyes. 

Mrs. Lattin 
It's not — I am not — too late. That's all. 



196 KARMA 

PhiUip 

Hush! Hush! Lie quiet a Httle longer. 
( Goes on to ask, still humouring her. ) You 
mean the doctor says ? 

Mrs. Lattin 

I am so happy. I know and understand 
now. It's glorious. 

Phillip 

My darling! Gently, gently! Do not 
excite yourself. Lie still and sleep, if you 
can, again. He has given you something? 
Later, you shall tell me 

Mrs. Lattin 

Ah, your great patient strength! It is 
too wonderful. And to think that my weak- 
ness helped, my selfish ! 

ISits up and peers closely at him, shad- 
ing her eyes with one hand. 



KARMA 197 

PhiUip 
(A furious, puzzled. ) The lamp is in your 
eyes. I'll move it. Do not stir. There, is 
that better? 

Mrs. LatUn 
Thank you, but I do not mind the light. 
I mind nothing. Thank you {the name 
comes back suddenly), Phillip. Ah, it is 
Phillip! I know you again — as you are — 
to-day ! 

[Parses hand over forehead. Sighs and 
leans back. But face happy and 
at peace. 

Phillip 
Mary! 

Mrs. Lattin 

Not Mary: Little Child. 

PhiUip 
My — Little Child. (Doubting and per- 
plewed. ) 



198 KARMA 

Mrs. Lattin 
Phillip, dear heart, I've seen — I've seen 
my past — with you. 

Phillip 
{Soothingly.) Yes, yes. When you're 
more rested you shall tell me everything. 
Your dreams 

Mrs. Lattin 
I must speak now. I've seen our past. 

Phillip 
(Bewildered.) Tell me, then, dearest, 
tell me. Then you must lie still 

Mrs. Lattin 
(Firmly.) Life! 

Phillip , 
( Impressed. ) Life ! 



KAIIMA 199 

Mrs. Lattin 
I have recovered. I love you more — but 
differently. I can forgive myself at last. 

Phillip 
Recovery ! Forgiveness ! I do not under- 
stand. 

Mrs. Lattin 

You have not seen. I understand for both 
of us. 

PhilMp 

You have had dreams that troubled you. 
I implore you, dearest 

Mrs. Lattin 
Look in my face. There is no trouble 
there — but only joy and life. 

PMUip 
Yes, yes, but — ^my darling, what can you 
J mean ? 

Mrs. Lattin 

He came — and went. 



200 KARMA 

Phillip 
And left one word behind him only ? 

Mrs. Lattin 
One word — Life. 

Phillip 
{Almost convinced.) Then ? 



Mrs. Lattin 

(Radiant, rising from couch.) I shall 
go back with you. 

PhilUp 
To Egypt! 

Mrs. Lattin 

I shall never delay or thwart again. Ah, 
so many times I have — by my selfish love — 
(breaks off). Your work is a mission — al- 
ways. It is your soul's career. I under- 
stand at last. 



KARMA 201 

PhUUp 

Hush, hush, Little Child! You say wild 
things. I could never hear of it. I know 
your dread, your shrinking fear of Egypt. 
It would make you ill again. All the doc- 
tors agreed 

Mrs. Lattin 

I have no dread! My shrinking was — a 
memory. It was instinctive — a cowardice 
that shirked sweet expiation — tliere, where 
it is due. {In spite of him, she rises to her 
feet. Vigorous. ) I am well again. I shall 
go back with you. Your work — my work — 
lies out there — in Egypt. Oh, Phillip, be 
glad with me, for I am forgiven, I am 
healed ! 

Phillip 

(Stirred.) Dear heart! Your soul is too 
grand for this frail, precious body. You in- 
jure yourself. Such sacrifice from you I 
could never, never 



202 KARMA 

[Breaks off, as he notes the radiant eoc- 
pression in her face. They stand 
close together beneath the picture. 

Mrs. Lattin 
(Infleccibly.) It is no sacrifice. It is 
love, love, love! 

Phillip 

(Tenderly.) That deep love I never 

doubted. But — the ingrained dread, the 

fear, the shrinking that have undermined 

your willing strength. How can you ? 

Mrs. Lattin 
They are gone for ever. Phillip, how 
often must I tell you? I am healed. I go 
back with you. We go together. Our life 
is there, in Egypt. 

Phillip 
(Almost convinced.) I feel some great 
new reality in you. You are most wonder- 
fully changed. Some star of life is rising 



KARMA 203 

over us — again. (He gazes into her radiant 
face with a touch of respect and wonder.) 
If— if 

Mrs. Lattin 
You must at once withdraw your resig- 
nation. There is no "too late"! {Laughs 
a Utile.) You promise me! 

\_Amazenient in him gives place to 
dawning belief at last. Yet he still 
hesitates. 

Phillip 
I will see the doctor myself. I promise 
that if he 

Mrs. Lattin 
You cannot. 

Phillip 
Cannot! (Awe.) You mean — you have 
had a vision? 

Mrs. Lattin 
He has — ^gone. 



204 KARMA 

Phillip 
(Convinced.) It was a vision. . . ? 
\_She turns slowly and looks up at the 
picture on the wall above them. 
He turns with her. He is speech- 
less. He holds her very close. 
They stare together at the palms, 
the river J the stars, the temples. 

Mrs. Lattin 
(Softly.) Egypt — where I first delayed 
and thwarted him, loving him for myself 
alone — Egypt, beneath your risen stars, be- 
side your rising river — I shall undo — at last. 
\^A new expression steals into his face. 
He gazes at the picture with her. 
He holds her still closer to him. 

Phillip 
(Moved and wondering.) Little Child! 
It is very strange. Almost, it seems, some 
dream, some memory of long, long ago stirs 
in me. 



KARMA 205 

lA slight pause, as they gaze side hy 
side at the picture, 
(With effort.) It is beyond me some- 
where, but there is great beauty — that deep, 
unearthly Egyptian beauty in it. {Lowers 
voice.) Those pahns are rustling, those 
stars seem to move, the Nile flows down 
towards the sea. Perhaps . . . The Tear of 
Isis falls . . . 

Mrs. Lattin 
Listen . . . yes . . . ! 

Phillip 

{Turns to her.) Something about you, 
something new and — and familiar almost — 
steals upon me. I half believe. . . . 

Mrs. Lattin 

{Whispering.) PhilUp, my faithful one, 
I heard another name as you said that. I 
heard an ancient name — was it Menophis? 



206 KARMA 

Phillip 
(Hushed voice.) I thought a name came 
to me too. It floated past — Nefertiti. It 
must have been the beating of your heart 
against my own. 

[They stand motionless, gazing, listen- 
ing, 

Mrs. Lattin 
Dear, ancient names. How sweet they 
sound I 

Phillip 
(Smiling.) I think we are bewitched! 

Mrs. Lattin 
Egypt! (Pause. Adds softly.) I un- 
derstand — at last. 

[He draws her head hack and looks 
tenderly into her eyes. 

Phillip 
AM but one thing. 



KARMA 207 

Mrs. Lattin 
Which is ? 

Phillip 
That what you call delay has helped and 
taught me. 

Mrs. Lattin 

(Low.) Perhaps I understand that too. 
That which the soul can do without is added 
to it. (Whispers.) Is it not that? 

Phillip 
Ah, you put it so. Perhaps you put it 
better. I only know that you have given 
me the thing I needed most — perspective, 
the longer sight. My vision clears. (Bends 
down and kisses her.) I feel new power 
for my work. I see it whole. 

Mrs. Lattin 
Then my forgiveness is complete. 

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